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f Art-  LOVER'S 

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GUIDE 


TO  THE 


EXPOSITION 


EXPLANATIONS  OF  THE  ARCHITECTURE 

SCULPTURE  fe?  MURAL  PAINTINGS 

WITH  A  GUIDE  FOR  STUDY 

IN  THE  ART  GALLERY 

BY  SHELDON  CHENEY 


PRICE  50  CENTS 


GIFT  or 


iKsss=i 


Digitized  by  the  Internet  Archive 

in  2008  with  funding  from 

IVIicrosoft  Corporation 


http://www.archive.org/details/artloversguidetoOOchenrich 


THE  RISING  SUN 
Adolph  A.  Weinman,  Sculptor 


AN  ART-LOVER'S  GUIDE 
to  the  EXPOSITION 

EXPLANATIONS  OF  THE  ARCHITECTURE,  SCULPTURE 

AND  MURAL  PAINTINGS,  WITH  A  GUIDE  FOR 

STUDY   IN  THE  ART  GALLERY 

By  SHELDON  CHENEY 


BERKELEY 

AT  THE  SIGN  OF  THE  BERKELEY  OAK 

1915 


or 


Copyright  1915 

/     ,    '.    .  by 

^^  Sheldon  Cheney 


•    •••/•»      . 
•  •      •    ••    •   •     « 

*       •    •     •     •  • 


.••  _«^  ••*  • 


Printed  and  Engraved  by 

Sunset  Publishing  House 

San  Francisco 


C^ofJ  ^'♦^^.> 


CONTENTS 


Foreword 6 

The  Architecture  and  Art  as  a  Whole 7 

Court  of  Abundance 13 

Court  of  the  Universe 23 

Court  of  the  Four  Seasons 35 

Court  of  Palms  and  Court  of  Flowers 43 

Tower  of  Jewels,  and  Fountain  of  Energy 48 

Palaces  Facing  the  Avenue  of  Palms 55 

Palaces  Facing  the  Marina,  and  the  Column  of  Progress 59 

Palace  of  Machinery 62 

South  Gardens,  Festival  Hall,  and  Palace  of  Horticulture 66 

Palace  of  Fine  Arts 68 

Outdoor  Gallery  of  Sculpture 72 

Fine  Arts  Galleries 77 

State  and  Foreign  Buildings,  and  Scattered  Art  Exhibits 97 

Index 99 


337585 


FOREWORD 

This  handbook  is  designed  to  furnish  the  information 
necessary  for  intelUgent  appreciation  of  the  purely  artistic 
features  of  the  Exposition.  It  is  planned  first  to  explain  the 
symbolism  of  the  architecture,  sculpture  and  painting;  and 
second,  to  point  out  the  special  qualities  that  give  each  artistic 
unit  its  individual  appeal.  It  is  made  for  the  intelligent  observer 
who,  having  enjoyed  the  purely  aesthetic  impression  of  the 
various  works  of  art,  feels  a  legitimate  curiosity  about  their 
meaning. 

Everything  possible  has  been  done  to  make  the  volume  a 
guide  rather  than  merely  a  general  treatise.  The  chapter  group- 
ings are  the  most  obviously  serviceable  ones.  Running  heads 
will  be  found  at  the  tops  of  the  pages,  and  the  sub-headings  and 
catch-titles  in  each  chapter  are  designed  to  make  reference  to 
individual  features  as  easy  as  possible.  A  complete  index  is 
added  at  the  end. 

Purely  destructive  criticism  and  ridicule  have  been  carefully 
avoided.  But  if  the  writer  did  not  pretend  to  a  power  of  artistic 
discrimination  which  is  lacking  in  the  average  layman  who  has 
not  specialized  in  art  and  architecture,  there  would  be  little 
excuse  for  preparing  the  guide.  The  praise  and  criticism  alike 
are  such,  it  is  hoped,  as  will  aid  the  less  practiced  eye  to  see  new 
beauties  or  to  establish  sounder  standards  of  judgment. 

Acknowledgment  is  made  to  the  official  Exposition  press 
bureau  for  courtesies  received,  and  to  those  artists  who  have 
supplied  information  about  their  own  work.  For  obvious 
reasons  no  material  has  been  accepted  direct  from  articles  and 
books  already  published.  If  certain  explanations  of  the  sym- 
bolism seem  familiar,  it  is  only  because  all  wordings  of  the  ideas 
echo  the  artists*  interpretations  as  given  out  by  the  press  bureau. 

Acknowledgment  is  due  also  to  the  Cardinell-Vincent  Com- 
pany, official  photographers,  since  most  of  the  illustrations  are 
from  their  prints.  S.  C. 


6] 


THE  ARCHITECTURE  AND  ART  AS  A  WHOLE 

In  the  art  of  the  Exposition  the  great  underlying  theme  is 
that  of  achievement.  The  Exposition  is  being  held  to  celebrate 
the  building  of  the  Panama  Canal,  and  to  exhibit  to  the  world 
evidences  of  the  progress  of  civilization  in  the  decade  since  the 
last  great  exposition-^a  period  among  the  richest  in  the  history 
of  civilization.  So  the  ideas  of  victory,  achievement,  progress 
and  aspiration  are  expressed  again  and  again:  in  the  architecture 
with  its  triumphal  arches  and  aspiring  towers;  in  the  sculpture 
that  brings  East  and  West  face  to  face,  and  that  shows  youth 
rising  with  the  morning  sun,  eager  and  unafraid;  and  in  the 
mural  paintings  that  portray  the  march  of  civilization,  and 
that  tell  the  story  of  the  latest  and  greatest  of  mankind's  tri- 
umphs over  nature.  But  perhaps  the  most  significant  thing  of 
all  is  the  wonderfully  harmonious  and  unified  effect  of  the  whole, 
that  testifies  so  splendidly  to  the  perfect  co-operation  of  Ameri- 
can architects,  sculptors  and  painters. 

The  dominant  note  artistically  is  harmony.  At  no  other 
exposition  have  the  buildings  seemed  to  **hold  together"  so 
well;  and  at  no  other  has  there  been  the  same  perfect  unity  of 
artistic  impression.  The  Chicago  Exposition  of  1893  focused 
the  artistic  expression  of  the  nation  at  that  time.  It  brought 
about  the  first  great  awakening  of  the  country  in  artistic 
matters,  and  it  practically  revolutionized  American  architec- 
ture. The  St.  Louis  Exposition  of  1904,  while  less  unified  in 
plan,  gave  another  great  stimulus  to  architecture,  and  especially 
to  sculpture.  But  the  Panama-Pacific  Exposition  should  have 
a  more  far-reaching  effect  than  either  of  these,  because  its  great 
lesson  is  not  in  the  field  of  any  one  art,  but  in  showing  forth 
the  immense  value  of  co-ordination  of  all  the  arts  in  the  achieve- 
ment of  a  single  glorious  ideal.  The  great  thing  here  is  the 
complete  harmony  of  purpose,  of  design,  and  of  color,  in  the 
combined  work  of  architects,  sculptors,  painters,  and  landscape 
gardeners.  The  sensible  plan  that  results  in  perfect  convenience 
in  getting  about,  the  clothing  of  this  plan  in  noble  and  fitting 
architectural  forms,  the  use  of  sculpture  and  painting  as  an 
integral  part  of  the  architectural  scheme,  the  tying  in  of  build- 

[71 


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THE  ART  AS  A  WHOLE 

ings  to  site  with  appropriate  planting,  and  the  pulUng  together 
of  the  whole  composition  with  harmonious  color — these  are 
the  things  that  will  leave  their  impress  on  American  art  for  all 
time  to  come.  If  each  student  of  the  art  of  the  Exposition 
takes  home  with  him  an  understanding  of  the  value  of  this 
synthesis,  of  this  co-ordination  of  effort,  he  will  have  the  key 
to  the  Exposition's  most  valuable  heritage  to  the  American 
people. 

Physically  there  are  three  distinct  parts  to  the  Exposition: 
the  main  group  of  exhibit  palaces,  the  Zone,  and  the  state  and 
foreign  buildings.  The  art-lover  will  be  concerned  almost 
entirely  with  the  first  of  these ;  for  artistically  the  Zone  expresses 
anarchy,  and  the  state  and  foreign  pavilions  are  given  over 
almost  entirely  to  social  and  commercial  interests. 

ARCHITECTURE 

The  architecture  of  the  central  group  of  palaces  and  courts 
is  a  notable  departure  from  that  of  most  of  the  expositions  of 
the  past.  There  are  none  of  the  overdecorated  facades,  none 
of  the  bizarre  experiments  in  radical  styles,  and  little  of  the 
riot  of  extraneous  ornament,  that  have  been  characteristic  of 
typical  "exposition  architecture.**  The  whole  spirit  here  is 
one  of  seriousness,  of  dignity,  of  permanency.  The  effects  are 
obtained  by  the  use  of  long  unbroken  lines,  blank  wall  spaces, 
perfect  proportioning,  and  a  restrained  hand  in  decoration. 
Color  alone  is  relied  upon  to  add  the  spirit  of  gayety  without 
which  the  architecture  might  be  too  somber  for  its  joyous 
purpose. 

The  ground  plan  is  remarkable  for  its  perfect  symmetry. 
On  the  main  east  and  west  axis  are  grouped  eight  palaces,  about 
three  interior  courts.  At  the  east  end  the  axis  is  terminated 
by  the  Palace  of  Machinery,  which  cuts  off  the  main  group 
from  the  Zone.  On  the  west  the  axis  is  terminated  by  the  Fine 
Arts  Palace,  which  separates  the  central  group  from  the  state 
and  foreign  buildings.  The  main  cross  axis  is  terminated  at 
the  south  by  the  Tower  of  Jewels  and  the  Fountain  of  Energy, 
and  at  the  north  by  the  Column  of  Progress  on  the  Marina. 
The  two  minor  cross  axes  end  at  the  south  in  the  Horticulture 
Palace  and  Festival  Hall — the  two  great  domed  structures  that 
naturally   would   separate   themselves   from    the   main   plan — 

[91 


THE  ART  AS  A  WHOLE 

and  at  the  north  these  axes  open  on  the  Marina  and  the  beau- 
tiful bay  view. 

This  plan  is  admirably  compact.  It  has  the  effect  of  a 
walled  city,  giving  a  sense  of  oneness  from  without,  and  a  sense 
of  shelter  from  within.  The  plan  eliminated  the  usual  great 
distances  between  exhibit  halls,  at  the  same  time  providing 
protection  against  the  winds  that  occasionally  sweep  over  the 
Exposition  area.  More  important  still,  the  throwing  of  the 
finer  architectural  effects  into  the  inner  courts  allowed  freedom 
in  individual  expression.  In  the  court  system  the  architects 
obtained  unity  with  great  variety  of  style,  and  harmony 
without  monotony. 

The  plan  was  worked  out  by  a  commission  of  architects. 
But  the  greatest  credit  must  be  given  to  Edward  H.  Bennett, 
who  first  conceived  the  walled-city  idea,  and  who  brought  his 
long  experience  in  city-planning  to  serve  in  determining  the 
best  method  of  utilizing  the  magnificent  site. 

The  style  of  architecture  cannot  be  summed  up  in  any  one 
name.  Practically  every  historic  style  has  been  drawn  upon, 
but  there  are  very  few  direct  copies  from  older  buildings.  The 
old  forms  have  been  used  with  new  freedom,  and  occasionally 
with  very  marked  originality.  As  one  looks  down  on  the  whole 
group  of  buildings,  the  Oriental  feeling  dominates,  due  to  the 
many  Byzantine  domes.  In  the  courts  and  facades  the  Renais- 
sance influence  is  strongest,  usually  Italian,  occasionally  Span- 
ish. Even  where  the  classic  Greek  and  Roman  elements  are 
used,  there  is  generally  a  feeling  of  Renaissance  freedom  in  the 
decoration.  One  court  is  in  a  wonderful  new  sort  of  Spanish 
Gothic,  perfectly  befitting  California.  In  the  styles  of  archi- 
tecture, as  in  the  symbolism  of  painting  and  sculpture  and  in 
the  exhibits,  one  feels  that  the  East  and  West  have  met,  with 
a  new  fusion  of  national  ideals  and  forms. 

The  material  used  in  the  buildings  is  a  composition,  par- 
taking of  the  nature  of  both  plaster  and  concrete,  made  in 
imitation  of  Travertine,  a  much-prized  building  marble  of 
Italy.  This  composition  has  the  warm  ochre  tone  and  porous 
texture  of  the  original  stone,  thus  avoiding  the  unpleasant 
smoothness  and  glare  which  characterize  stucco,  the  usual 
Exposition  material. 

[101 


THE  ART  AS  A  WHOLE 

SCULPTURE 

In  one  way  more  than  any  other,  the  sculpture  here  surpasses 
that  of  other  expositions:  it  is  an  integral  part  of  the  larger 
artistic  conception.  It  not  only  tells  its  individual  stories 
freely  and  beautifully,  but  it  fits  perfectly  into  the  architectural 
scheme,  adding  the  decorative  touch  and  the  human  element 
without  which  the  architecture  would  seem  bare. 

The  late  Karl  Bitter  was  chief  of  the  department  of  sculpture, 
and  although  there  is  no  single  example  of  his  work  on  the 
grounds,  it  was  he  who,  more  than  any  other,  insisted  upon  a 
close  relationship  between  the  architecture  and  the  sculpture. 
A.  Stirling  Calder  was  acting  chief,  and  he  had  charge  of  the 
actual  work  of  enlarging  the  models  of  the  various  groups  and 
placing  each  one  properly. 

The  material  of  the  sculptures  is  the  same  as  that  of  the 
buildings.  Travertine,  thus  adding  to  the  close  relationship  of 
the  two. 

MURAL  PAINTINGS 

The  mural  paintings  as  a  whole  are  not  so  fine  as  either  the 
architecture  or  the  sculpture.  The  reason  can  be  traced  perhaps 
to  the  fact  that  painting  does  not  readily  bow  to  architectural 
limitations.  In  this  case  the  artists,  with  the  exception  of 
Frank  Brangwyn,  who  painted  the  canvases  for  the  Court  of 
Abundance,  were  limited  to  a  palette  of  five  colors,  in  order 
that  the  panels  should  harmonize  with  the  larger  color  scheme. 

COLOR 

Never  before  was  there  an  exposition  in  which  color  played 
such  a  part.  Here  for  the  first  time  a  director  of  color  was 
placed  above  architect  and  sculptor  and  painter.  Jules  Guerin, 
chief  of  color  decoration,  has  said  that  he  went  to  work  just  as 
a  painter  starts  to  lay  out  a  great  picture,  establishing  the  warm 
buff  of  the  building  walls  as  a  ground  tone,  and  considering  each 
dome  or  tower  or  portal  as  a  detail  which  should  add  its  brilliant 
or  subdued  note  to  the  color  harmony.  Not  only  do  the  paint- 
ings and  sculpture  take  proper  place  in  the  tone  scheme,  but 
every  bit  of  planting,  every  strip  of  lawn  and  every  bed  of 
flowers  or  shrubs,  has  its  duty  to  perform  as  color  accent  or 
foil.  Even  the  gravel  of  the  walks  was  especially  chosen  to 
shade  in  with  the  general  plan. 

Ml] 


THE  ART  AS  A  WHOLE 

As  seen  from  the  heights  above  the  Exposition — and  no 
visitor  should  go  away  without  seeing  this  view — the  grounds 
have  the  appearance  of  a  great  Oriental  rug.  The  background 
color  is  warm  buff,  with  various  shades  of  dull  red  against  it, 
accented  by  domes  and  columns  of  pale  green,  with  occasional 
touches  of  blue  and  pink  to  heighten  the  effect. 

In  the  courts  the  columns  and  outer  walls  are  in  the  buff, 
or  old  ivory,  tone,  while  the  walls  inside  the  colonnades  have  a 
"lining  color"  of  Pompeian  red;  the  ceilings  are  generally  ceru- 
lean blue;  the  cornices  are  touched  with  orange,  blue  and  gold; 
and  occasional  columns  of  imitation  Siena  marble,  and  bronzed 
statues,  set  off  the  whole. 

In  connection  with  the  color  scheme,  great  credit  must  be 
given  to  John  McLaren,  chief  of  the  department  of  landscape 
gardening,  who  has  worked  so  successfully  in  co-operation  with 
architects  and  color  director.  The  Exposition  is  built  almost 
entirely  on  filled  ground,  just  reclaimed  from  the  bay;  and  it 
was  a  colossal  task  to  set  out  the  hundreds  of  thousands  of 
flowers,  shrubs  and  trees  which  now  make  the  gardens  seem 
permanent,  and  which  set  off  the  architecture  so  perfectly. 

LIGHTING 

When  one's  soul  has  been  drenched  all  day  in  the  beauty 
of  courts  and  palaces  and  statues  and  paintings,  dusk  is  likely 
to  bring  welcome  rest;  but  when  the  lights  begin  to  appear  there 
comes  a  new  experience — a  world  made  over,  and  yet  quite  as 
beautiful  as  the  old.  Walls  are  lost  where  least  interesting, 
bits  of  architecture  are  brought  out  in  relief  against  the  velvet 
sky,  and  sculptures  take  on  a  new  softness  and  loveliness  of 
form.  Under  the  wonderfully  developed  system  of  indirect 
illumination,  no  naked  light  is  seen  by  the  eye;  only  the  soft 
reflected  glow,  intense  when  desired,  but  never  glaring.  If  this 
lighting  is  not  in  itself  an  art,  it  is  at  least  the  informing  spirit 
that  turns  prose  to  poetry,  or  the  instrumental  accompaniment 
without  which  the  voice  of  the  artist  would  be  but  half  heard. 
Too  much  credit  cannot  be  given  to  the  lighting  wizard  of  the 
Exposition,  W.  D'Arcy  Ryan. 


12] 


THE  COURT  OF  ABUNDANCE 

The  Court  of  Abundance  is  the  most  original,  and  perhaps 
the  most  consistently  beautiful,  of  all  the  Exposition  courts. 
No  other  is  so  clearly  complete  in  itself,  without  the  intrusion 
of  features  from  surrounding  buildings  and  courts.  No  other 
has  the  same  effect  of  cloistered  seclusion — partly  because 
each  of  the  others  is  open  on  one  side.  And  certainly  no  other 
indicates  so  clearly  the  touch  of  the  artist,  of  the  poet-architect, 
from  the  organic  structural  plan  to  the  finest  bit  of  detail.  Even 
the  massive  central  fountain,  though  conceived  in  such  different 
spirit,  has  no  power  to  dispel  the  almost  ethereal  charm  that 
hovers  over  the  place. 

The  distinctive  note  of  the  court  is  one  of  exquisite  richness. 
As  one  enters  from  any  side  the  impression  grows  that  this  is 
the  most  decorative  of  all  the  courts;  and  yet  one  is  not  conscious 
of  any  individual  bit  of  decoration  as  such.  Everything  fits 
perfectly:  arches,  tower,  cornices,  finials,  statues,  planting — 
it  all  goes  to  enrich  the  one  impression.  Someone  has  said  that 
the  court  is  not  architecture,  but  carving;  and  that  suggests 
perfectly  the  decorative  wealth  of  the  composition. 

ARCHITECTURE 

The  style  of  architecture  has  been  guessed  at  as  everything 
from  Romanesque  and  Gothic  to  Flamboyant  Renaissance  and 
Moorish.  The  truth  is  that  the  court  is  a  thoroughly  original 
conception;  and  the  architect  has  clothed  his  pre-conceived 
design  in  forms  that  he  has  borrowed  from  all  these  styles  as 
they  happened  to  suit  his  artistic  purpose.  The  spirit  of  the 
court  is  clearly  Gothic,  due  to  the  accentuation  of  the  vertical 
lines — and  one  will  note  how  the  slender  cypresses  help  the 
architecture  to  convey  this  impression.  The  rounded  arches, 
modified  in  feeling  by  the  decorative  pendent  lanterns,  hint  of 
the  awakening  of  the  Renaissance  period  in  Spain,  during  the 
Fourteenth  and  Fifteenth  Centuries,  when  the  vertical  lines, 
and  decorative  leaf  and  other  symbolic  ornaments  of  the  severer 
Gothic,  were  so  charmingly  combined  with  classic  motives. 

The  architecture  here  is  inspiring  as  a  symbol  of  the  Ameri- 

[13] 


THE  COURT  OF  ABUNDANCE 
Louis  Christian  Mullgardt,  Architect 


COURT  OF  ABUNDANCE 

can  * 'melting-pot.**  It  is  a  distinct  and  original  evolution, 
recalling  the  great  arts  of  Europe,  and  yet  eluding  classification. 
The  court  shows  that  the  designer  was  master  of  the  styles  of 
the  past,  but  refused  to  be  a  slave  to  them;  at  the  same  time 
he  had  an  original  conception  but  did  not  let  it  run  into  the 
blatant  and  bizarre.  1 1  is  from  such  fusions  of  individual  genius 
with  the  traditions  of  the  past  that  a  distinctive  American 
architecture  is  most  likely  to  flower. 

The  tower  is  a  magnificent  bit  of  architectural  design.  It  is 
massive  and  yet  delicate.  It  dominates  the  court,  and  yet  it 
fits  perfectly  into  the  cloister.  The  rich  sculpture  is  so  much  a 
part  of  the  decorative  scheme  that  there  is  no  impression  of  the 
structure  having  been  **ornamented.**  One  must  search  long 
in  the  histories  of  architecture  to  find  a  tower  more  satisfying. 

The  architect  who  designed  the  Court  of  Abundance  is 
Louis  Christian  Mullgardt,  one  of  the  two  most  original  geniuses 
among  California's  architects. 

It  is  well  to  enjoy  this  court  at  first  for  its  beauty  alone, 
without  regard  to  its  rich  symbolism.  One  who  has  thus  con- 
sidered it,  merely  as  a  delight  to  the  eye,  usually  is  surprised 
to  find  that  it  has  a  deeper  underlying  meaning  than  any  of  the 
other  courts.  The  present  name,  **Court  of  Abundance,"  is 
not  the  original  one.  The  architect  conceived  it  as  **The  Court 
of  The  Ages.*'  It  is  said  that  the  Exposition  directors,  for  the 
rather  foolish  reason  that  a  Court  of  the  Ages  would  not  fit  into 
the  scheme  of  a  strictly  contemporaneous  exposition,  re-chris- 
tened it  "The  Court  of  Abundance."  But  it  is  the  former  name 
that  sums  up  the  thought  behind  the  decorative  features. 

The  underlying  idea  is  that  of  evolution.  The  tower  sculp- 
tures, which  will  be  more  fully  explained  in  following  paragraphs, 
represent  successive  ages  in  the  development  of  man — the  Stone 
Age,  the  Mediaeval  Age,  and  the  Present  Age.  The  decoration 
of  the  cloisters  may  be  taken  as  symbolizing  the  evolution  of 
primitive  man  from  the  lower  forms  of  life.  Thus  the  orna- 
mental garlands  that  run  up  the  sides  of  the  arches  are  of  sea- 
weed, while  other  parts  of  the  decoration  show  crabs,  lobsters 
and  other  of  the  lower  forms  of  sea  life.  Higher  up  the  ornament 
includes  conventionalized  lilies  suggestive  of  higher  plant  life. 
And  surmounting  the  colonnade,  one  over  each  pier,  are  the 
repeated  figures  of  primitive  man  and  primitive  woman.     It  is 

(15] 


COURT  OF  ABUNDANCE 

at  this  height  that  the  tower  sculptures  begin,  carrying  on  the 
story  of  man  up  to  the  present  age.  At  a  level  between  the 
Stone  Age  group  and  the  Mediaeval  Age  is  a  row  of  cocks, 
symbols  of  the  rise  of  Christianity.  Perhaps  the  whole  aspiring 
feeling  of  the  court  is  meant  to  further  suggest  the  upward  rise 
of  man — but  after  all,  the  purely  sensuous  beauty  of  the  archi- 
tecture is  sufficient  to  warrant  its  being,  without  any  straining 

after  symbolism. 

SCULPTURE 

Groups  on  the  Tower.  The  three  main  groups  typify 
the  rise  of  man,  and  especially  the  rise  of  man's  civilization 
through  religion.  The  lowest  group,  over  the  main  arch,  is 
called  The  Stone  Age.  Along  the  base  are  prehistoric  monsters, 
and  above  are  figures  representing  various  phases  of  primitive 
life,  as  a  man  strangling  an  animal  with  his  hands,  and  a  figure 
that  may  suggest  the  rude  beginnings  of  art  or  industry.  The 
heads  indicate  a  period  of  evolution  when  man  was  not  very 
different  from  the  ape;  but  the  central  figures  suggest  the 
development  of  family  life,  and  a  new  outlook  and  a  seeking 
for  something  higher. 

The  middle  group.  The  Mediaeval  Age,  shows  an  armored 
figure  with  sword  and  shield,  a  crusader  perhaps,  with  the  force 
of  religion  symbolized  in  the  priest  or  monk  at  one  side,  and  the 
force  of  arms  suggested  by  the  archer  at  the  other,  these  being 
the  two  forces  by  which  man  was  rising  in  that  age. 

The  third  and  highest  group  represents  The  Spirit  of  the 
Present  Age  enthroned.  At  one  side  a  child  holds  the  book 
of  learning,  while  at  the  other  a  child  holds  the  wheel  of  industry. 
The  group  also  carries  inevitably  a  suggestion  of  motherhood. 

Flanking  the  middle  group  are  two  figures,  in  which  the 
whole  idea  of  human  evolution  is  suggested  by  a  modern  man 
and  woman  outgrowing  their  old  selves.  On  the  east  and  west 
faces  of  the  tower  are  figures  representing  * 'Thought." 

All  the  sculpture  on  the  tower  is  by  Chester  Beach. 

Figures  Surmounting  Colonnade.  Two  figures  of  "The 
Primitive  Man"  and  one  of  *The  Primitive  Woman"  are  re- 
peated above  the  cloister  all  around  the  court.  The  woman 
carries  a  child  on  her  back,  one  man  is  feeding  a  pelican,  and  the 
other  is  a  hunter  returning  with  a  club  in  one  hand  and  his 
quarry  in  the  other.     These  figures  are  remarkably  well  suited 

[161 


COURT  OF  ABUNDANCE 

to  their  purpose,  balancing  one  another  exactly;  they  are  so 
much  a  part  of  the  decorative  scheme,  indeed,  that  the  average 
person  is  likely  to  overlook  their  merits  as  individual  statues. 
Albert  Weinert  was  the  sculptor. 

The  Water  Sprites.  At  the  tower  side  of  the  court,  flanking 
the  stairway  that  leads  to  the  archway  under  the  tower,  are  two 
free-standing  monuments  that  were  designed  as  fountains.  The 
original  plan  called  for  cascades  from  below  the  Stone  Age  group 
on  the  tower  to  these  monuments.  Although  the  elimination 
of  this  feature  made  the  court  more  simple  and  satisfying  as  a 
whole,  the  figures  of  the  Water  Sprites  were  left  high  and  dry, 
so  that  now  there  is  a  certain  incongruity  in  their  position. 
Still  one  may  admire  the  very  spirited  girl  archers  surmounting 
the  two  columns,  even  if  they  are  apparently  launching  arrows 
at  their  sister  sprites  below,  instead  of  into  jets  of  water  as  was 
intended.  The  figures  at  the  bases  of  the  columns,  while  lacking 
the  grace  and  the  joyous  verve  of  those  above,  still  are  very 
decorative.    All  are  the  work  of  Leo  Lentelli. 

The  Fountain  of  Earth.  In  the  large  basin  in  the  center 
of  the  Court  of  Abundance  is  Robert  Aitken's  **Fountain  of 
Earth."  While  plainly  out  of  keeping  with  the  spirit  of  the 
court,  this  is  in  itself  one  of  the  most  powerful  and  most  inter- 
esting sculptural  compositions  at  the  Exposition.  It  is  deeply 
intellectual,  and  more  than  any  other  group  it  requires  an 
explanation  of  the  symbolism  before  one  can  appreciate  it. 

The  fountain  is  really  in  two  compositions.  The  larger, 
and  central,  one  is  composed  of  a  globe  representing  the  earth, 
with  four  panels  of  figures  on  the  four  sides,  representing  certain 
of  the  incidents  of  life  on  earth,  or  certain  riddles  of  existence. 
The  secondary  composition  lies  to  the  south  of  the  central  one, 
on  the  same  pedestal;  and  this  is  divided  into  two  groups  by 
a  formalized  wing  through  the  center.  The  two  scenes  here 
represent  life  before  and  after  earthly  existence.  The  two 
huge  arms  and  the  wing  are  all  that  can  be  seen  of 
Destiny,  the  force  with  which  the  allegorical  story  begins  and  ends. 

To  "read"  the  fountain  in  proper  sequence,  one  must  start 
with  the  west  face  of  the  secondary  group.  This  represents 
The  Beginning  of  Things.  The  arm  of  Destiny  is  calling 
forth  life  and  points  the  way  to  the  earth.  The  three  women 
figures  next   to   the  hand   show   the   gradual   awakening   from 

[17] 


COURT  OF  ABUNDANCE 

Oblivion.  The  adjoining  two  figures  represent  the  kiss  of  Hfe 
or  of  love,  and  the  woman  is  holding  forth  to  the  earth  the 
children  created  of  that  love.  The  entire  group  on  this  west 
face,  considered  in  relation  to  the  main  composition,  may  be 
taken  as  representing  the  peopling  of  the  earth. 

There  is  now  a  gap  which  one  must  pass  over,  to  reach  the 
South  panel  of  the  central  composition.  This  gap  represents 
the  lost  period  of  time  between  the  peopling  of  the  earth  and 
the  beginning  of  history. 

The  South  panel  of  the  main  structure  has  as  its  central 
figure  Vanity  with  her  hand-glass.  Whether  the  artist  intended 
it  as  a  pessimistic  commentary  on  all  human  life,  or  not,  his 
series  of  episodes  on  earth  begins  and  ends  with  the  figure  of 
Vanity.  Reading  to  the  left  on  this  same  panel  one  sees  a  man 
and  a  woman  starting  the  journey  of  life  on  earth,  apparently 
with  suffering  but  certainly  with  courage— perhaps  for  the  sake 
of  the  children  they  carry. 

The  West  panel  now  shows  the  first  of  three  incidents  or 
problems  of  life  on  earth.  This  is  entitled  Natural  Selection. 
Two  women  turn  to  one  man  who  is  clearly  superior  to  the  two 
men  they  are  leaving.  The  two  who  have  been  spurned  as  mates 
cling  to  the  hands  of  the  women  even  while  they  are  turning 
away. 

The  North  panel  represents  The  Survival  of  the  Fittest. 
Two  men  are  in  combat,  the  woman  at  the  left  evidently  to  be 
the  prize  of  the  victor.  At  the  other  side  a  woman  tries  to  draw 
away  one  of  the  combatants.  The  sculptor  has  given  this  group 
a  second  title,  **The  Awakening  of  the  War  Spirit,"  which  is 
equally  applicable. 

The  East  panel  is  entitled  The  Lesson  of  Life.  A  young 
man  and  a  young  woman  turn  to  each  other  through  natural 
impulse,  while  an  older  woman  with  the  experience  of  life 
attempts  to  counsel  them.  On  the  other  side  an  old  man  re- 
strains an  impetuous  youth  who  evidently  would  fight  for  the 
girl. 

Turning  the  corner  now  to  the  South  panel  again,  there  are 
two  figures  representing  Lust  trying  to  embrace  a  reluctant 
woman.  Then  one  comes  to  Vanity  once  more,  and  the  story 
of  life  on  earth  is  done.  Again  there  is  a  gap,  and  the  scene 
leaves  the  earth  for  the  unknown  world  after  physical  death. 

[18] 


COURT  OF  ABUNDANCE 

The  East  face  of  the  minor  group  first  shows  the  figure 
of  Greed,  with  his  worldly  goods  now  turned  literally  to  a  ball 
of  clay  in  his  hands,  gazing  back  at  earth  in  puzzlement.  The 
next  two  figures  show  Faith  offering  the  hope  of  immortality 
(as  symbolized  in  the  scarab)  as  consolation  to  a  sorrowing 
woman.  Finally  there  are  two  figures  sinking  back  into 
Oblivion,  drawn  by  the  hand  of  Destiny.  Thus  the  cycle  from 
Oblivion  through  life  and  back  to  Oblivion  is  completed. 

In  the  same  basin,  at  the  far  south  end,  is  a  figure  of  The 
Setting  Sun.  This  was  part  of  the  artist's  conception  of  the 
Fountain  of  Earth,  the  relation  to  the  main  group  being  found 
in  the  supposition  that  the  earth  is  a  mass  thrown  off  by  the 
sun.  Thus  is  emphasized  the  idea  that  the  earth  and  life  on 
earth  are  but  a  very  small  part  of  the  wider  unknown  universe 
and  life. 

At  the  four  corners  of  the  main  composition  of  the  fountain, 
separating  the  four  panels,  are  Hermae,  terminal  pillars  such 
as  the  Greeks  and  Romans  were  fond  of,  decorated  with  the 
head  of  Hermes,  god  of  boundaries. 

Having  worked  out  the  story,  it  is  well  to  go  back  to  appre- 
ciate the  purely  aesthetic  qualities  of  the  fountain.  Note 
especially  the  feeling  of  strength  in  the  figures,  the  firm  model- 
ing, and  the  fine  way  in  which  the  figures  are  grouped.  The 
composition  of  the  west  face  of  the  minor  monument  is  espe- 
cially fine,  and  the  very  graceful  lines  here  make  an  intimate 
appeal  that  is  not  evident  in  some  of  the  other  groups.  The 
whole  monument  is  austere  and  strongly  compelling  rather 
than  intimately  charming.  If  it  is  the  first  duty  of  art  to  make 
people  think,  this  is  the  most  successful  bit  of  sculpture  on  the 
grounds. 

MURAL  PAINTINGS 

The  mural  paintings  in  the  Court  of  Abundance  consist  of 
eight  panels  by  Frank  Brangwyn,  perhaps  the  greatest  living 
mural  decorator,  placed  in  the  four  corners  of  the  cloister. 
Though  not  entirely  in  key  with  the  color  scheme  and  not  an 
integral  part  of  the  court  as  a  whole,  these  are  distinctly  the 
works  of  a  master.  Ultra-learned  critics  will  tell  you  that  they 
fail  as  decorations,  since  they  are  interesting  as  individual 
pictures  rather  than  as  panels  heightening  the  architectural 
charm.      But   their  placing  shows  clearly   that   there  was  no 

f  19  1 


THE  WINDMILL 
By  Frank  Brangwyn 


COURT  OF  ABUNDANCE 

i 

intention  that  they  should  appear  as  part  of  the  architectural 
scheme.  It  is  better  to  accept  them  as  pictures,  forgetting  the 
set  standards  by  which  one  ordinarily  judges  mural  painting. 

The  eight  paintings  represent  the  elements:  two  panels  each 
for  Fire,  Earth,  Air  and  Water.  There  are  no  conventional 
figures  here  personifying  the  elements,  but  scenes  from  the  life 
of  intensely  human  people,  typifying  the  uses  to  which  man  has 
put  the  elements. 

Fire.  Beginning  on  the  tower  side  of  the  court,  at  the 
northeast  corner,  are  the  two  panels  representing  Fire.  The 
one  on  the  north  wall  is  called  '^Primitive  Fire."  A  group  of 
figures  surround  a  fire,  some  nursing  it  and  some  holding  out 
their  hands  to  the  heat,  while  a  man  at  the  back  brings  fagots. 
Note  the  color  accents  in  the  robes  of  the  three  standing  figures. 

** Industrial  Fire,"  on  the  east  wall,  represents  the  bringing 
of  fire  into  the  service  of  man.  In  some  particulars  this  is  among 
the  finest  of  the  paintings,  but  the  transverse  cloud  of  smoke 
seems  to  break  it  awkwardly. 

Earth  is  represented  in  the  two  panels  in  the  northwest 
corner.  The  one  on  the  north  wall  is  entitled  **The  Fruit 
Pickers,"  typifying  the  wealth  of  products  that  man  obtains 
from  the  earth.  This  is  perhaps  the  richest  of  the  panels,  in 
the  profusion  of  color  and  of  alluring  form. 

The  panel  on  the  west  wall  is  **The  Dancing  of  the  Grapes," 
a  variation  of  the  theme  of  **The  Fruit  Pickers."  It  tells  the 
story  of  the  grape:  above  are  the  pickers  and  the  harvesters 
with  baskets;  at  the  right  two  figures  dancing  to  crush  the  juices 
from  the  grapes ;  and  in  the  foreground  a  group  with  the  finished 
wine.  The  confusion  of  figures  at  first  is  puzzling;  but  viewed 
simply  as  a  spotting  of  bright  colors  there  is  no  finer  panel 
among  them  all.  It  is  better  to  stand  well  back  along  the  colon- 
nade, and  forgetting  the  subject,  to  delight  in  the  purely 
sensuous  impression. 

Air  is  represented  in  the  two  panels  in  the  southwest  corner. 
The  one  on  the  south  wall  is  called  **The  Hunters."  The  theme 
is  suggested  in  the  idea  of  the  arrows  fleeing  on  the  wings  of  the 
air,  and  also  by  the  flight  of  birds  above. 

The  panel  on  the  west  wall  is  called  **The  Windmill."  Note 
how  the  feeling  of  moving  air  is  suggested  everywhere:  in  the 
skies  at  the  back,  in  the  clouds  and  the  kites,  in  the  trees  and 

[21] 


COURT  OF  ABUNDANCE 

the  grain-field,  in  the  draperies,  and  even  in  the  figures  them- 
selves that  are  braced  against  the  wind.  The  coloring  is  glorious, 
and  the  composition  fine.  The  disposition  of  masses  of  light 
and  dark  is  notable — the  dark  figures  grouped  against  the 
golden  grain,  and  the  gold-brown  windmill  against  the  dark 
sky.    No  panel  in  the  grounds  will  better  repay  intensive  study. 

Water  is  represented  in  the  panels  of  the  southwest  corner 
of  the  court.  The  one  on  the  south  wall  is  called  **The  Net," 
and  typifies  the  wealth  that  man  draws  from  the  water.  A 
group  of  fishermen  are  hauling  in  a  net,  and  carriers  bring 
baskets  at  the  back. 

**The  Fountain,"  the  panel  on  the  east  wall,  shows  a  group 
of  people  who  have  come  to  fill  their  jars  at  a  spring.  The  colors 
here  are  softer,  though  quite  as  rich  as  elsewhere.  The  lower 
half  of  the  painting  is,  indeed,  like  a  richly  colored  mosaic. 

After  examining  **The  Fountain"  at  close  range  it  is  well 
to  step  back  to  the  middle  of  this  south  corridor.  Look  first  at 
"The  Windmill"  and  then  turn  to  look  again  at  "The  Fountain." 
Note,  how,  when  the  subjects  are  once  understood,  the  great 
distance  increases  rather  than  decreases  the  charm  of  the  paint- 
ings. Note  especially  how  beautiful  each  one  is  when  considered 
merely  as  a  pattern  of  color.  These  two  panels,  if  not  the  finest 
of  all,  at  least  must  take  rank  among  the  best  three  or  four. 

THE  NORTH  COURT  OF  ABUNDANCE 

Passing  under  the  tower  from  the  Court  of  Abundance  one 
comes  out  in  the  little  north  court  that  is  conceived  in  the  same 
spirit,  and  which  likewise  is  dominated  by  the  Mullgardt  tower. 
The  architecture  here  is  like  an  echo  of  that  of  the  main  court, 
the  decorated  spaces  alternating  with  bare  spaces.  The  tower 
sculptures  are  all  repeated  on  this  side.  The  only  sculpture 
within  the  north  court  is  Sherry  Fry's  personification  of  Aquatic 
Life.  The  statue  is  of  a  heavy  sort  that  should  be  anywhere 
but  in  this  place  of  ethereal  mood  and  exquisite  detailed  work- 
manship. Blot  out  the  background  and  you  can  see  that  the 
figure  has  a  certain  solid  grace.  But  if  designed  for  this  court 
it  fails  of  its  decorative  purpose. 


[22] 


COURT  OF  THE  UNIVERSE 

The  Court  of  the  Universe  is  the  most  magnificent  of  the 
courts.  Considering  the  many  units — the  noble  arches,  the 
long  colonnades  with  their  corner  pavilions,  the  sunken  garden 
with  its  fountains  and  decorative  sculpture,  and  the  vista  to 
the  Column  of  Progress  and  the  Marina — it  is  by  far  the  richest 
in  artistic  interest.  But  is  it  so  imposing,  so  vast,  that  it  neces- 
sarily lacks  the  sense  of  quiet  restfulness  and  intimacy  of  appeal 
of  the  smaller  courts.  It  is  in  a  sense  the  Civic  Center  of  the 
great  Exposition  model  city,  and  as  such  it  offers  many  sug- 
gestions of  wise  planning — and  one  or  two  of  poor  planning, 
as  in  the  case  of  the  obtrusive  band-stand. 

The  meaning  of  the  court  is  to  be  found  in  the  symbolism 
of  the  groups  surmounting  the  two  triumphal  arches — the 
Nations  of  the  East  meeting  the  Nations  of  the  West.  With 
the  opening  of  the  Panama  Canal  the  peoples  of  the 
universe  have  met  at  last;  West  faces  East  on  this  shore  of 
the  Pacific.  The  idea  is  finely  expressed  in  the  lines  by  Walt 
Whitman,  inscribed  on  the  west  arch,  in  which  the  spirit  of 
the  Aryan  race,  having  traveled  this  far,  is  supposed  to  speak 
as  she  gazes  westward  to  Asia,  **the  house  of  maternity," 
her  original  home: 

Facing  west  from  California's  shores, 
Inquiring,  tireless,  seeking  what  is  yet  unfound, 
1,  a  child,  very  old,  over  waves,  tow^ards  the  house 

of  maternity,  the  land  of  migrations,  look  afar, 
Look  off  the  shores  of  my  Western  Sea, 

the  circle  almost  circled. 

Variations  of  this  theme  may  be  found  in  the  murals  under 
the  arches,  and  in  those  under  the  Tower  of  Jewels  near  by. 
Other  universal  themes  are  treated  in  the  Fountains  of  the 
Rising  Sun  and  of  the  Setting  Sun,  and  in  The  Elements  at  the 
edge  of  the  sunken  garden.  The  idea  of  achievement,  of  victory 
in  conquering  the  universe,  is  also  suggested  in  the  triumphal 

^"^""^^^  ARCHITECTURE 

The  style  of  architecture  is  in  general  Roman;  though,  as 
is  true  almost  throughout  the  Exposition  buildings,  there  is  an 

[23] 


n 


bv^j-js  ;«!{•'•-> -.Avs*'-*;';  i'i'^^':<^'^f^, '  '■"'''^~'-*y^^'^$i^iifW!^^' 


.^^^S^sJZJ^^f^J^, 


r 


ARCH  OF  THE  SETTING  SUN 
McKim,  Mead  and  White,  Architects 


COURT  OF  THE  UNIVERSE 

admixture  of  Renaissance  motives.  Even  on  the  massive 
Roman  arches  there  is  a  trace  of  Moorish  hghtness  and  color 
in  the  green  lattices;  and  the  domes  of  the  corner  pavilions  are 
clearly  Eastern  in  feeling. 

The  East  and  West  arches  are,  of  course,  reminiscent  of 
the  triumphal  arches  of  the  Roman  Conquerors.  A  comparison 
with  pictures  of  the  famous  Arch  of  Constantine  and  the  Arch 
of  Titus  at  Rome,  will  show  how  thoroughly  the  architects  have 
mastered  the  feeling  of  the  classic  examples,  while  largely 
modifying  the  decorative  features.  To  properly  see  either  of 
the  arches  in  this  court  as  a  single  unit,  it  is  best  to  stand  at  the 
side  of  the  sunken  garden,  near  one  of  the  figures  of  "The 
Elements,"  where  the  fountain  columns  do  not  obstruct  the 
view. 

The  long  colonnade,  with  its  fine  Corinthian  columns 
and  its  surmounting  row  of  "Star-girls,"  can  best  be  appreciated 
when  one  stands  facing  north,  with  back  to  the  Tower  of  Jewels 
— since  the  architecture  of  that  was  clearly  conceived  by  another 
mind  and  built  in  a  different  spirit.  It  is  from  the  two  corner 
pavilions  on  the  tower  side,  perhaps,  that  the  best  general  views 
of  the  court  can  be  obtained.  Unfortunately  the  attractive 
view  down  the  straight  colonnades  of  the  north  extension  of 
the  court  is  marred  by  a  gaudy  band  pavilion,  which  is  quite 
out  of  keeping  with  the  pervading  mood  of  simple  dignity.  The 
little  corner  pavilions  are  worthy  of  study  alone,  as  a  graceful 
and  unusual  bit  of  architectural  design. 

The  Court  of  the  Universe  was  designed  by  McKim,  Mead 
and  White. 

SCULPTURE 

The  Court  of  the  Universe  has  more  than  its  share  of  the 
best  sculpture  of  the  Exposition.  In  this  court  more  than  any- 
where else  one  can  obtain  an  idea  of  the  remarkable  scope  of 
the  sculptured  groups.  It  is  a  good  place  to  linger  in  if  one  has 
heretofore  had  pessimistic  doubts  about  the  ultimate  flowering 
of  the  art  of  sculpture  in  America. 

The  Fountain  of  the  Rising  Sun  is  at  the  east  end  of  the 
sunken  garden.  Its  tall  shaft  is  surmounted  by  the  figure  of  a 
youth  typifying  the  Rising  Sun — a  figure  of  irresistible  appeal. 
The  morning  of  day  and  the  morning  of  life,  the  freshness 
of  the  dawn   and   the   aspiration    of  youth — these   things  are 

[25  1 


DESCENDING  NIGHT 
Adolph  A.  Weinman 


COURT  OF  THE  UNIVERSE 

remarkably  suggested  in  the  figure.  With  head  up  and  winged 
arms  outstretched,  the  youth  is  poised  on  tiptoe,  the  weight 
thrown  forward,  as  if  just  on  the  point  of  soaring. 

The  Fountain  of  the  Setting  Sun  is  just  opposite,  at  the 
west  end  of  the  sunken  garden.  The  surmounting  figure  here, 
though  officially  called  **The  Setting  Sun,'*  is  more  appropriately 
named  "Descending  Night" — the  title  the  artist  has  given  to 
the  bronze  replica  in  the  Fine  Arts  gallery.  The  closing  in  of 
night — that  is  what  is  so  perfectly  suggested  in  the  relaxed 
body,  the  folding-in  wings,  and  the  remarkable  sense  of  droop- 
ing that  characterizes  the  whole  statue.  There  is,  too,  an 
enveloping  sense  of  purity  and  sweetness  about  the  figure. 

These  two  statues  which  surmount  the  Fountains  of  the  Rising 
Sun  and  the  Setting  Sun  are  among  the  most  charming  sculp- 
tures at  the  Exposition.  They  have  not  the  strength  of  the 
figures  of  the  Elements,  or  the  massive  nobility  and  repose  of 
the  Genius  of  Creation,  or  the  purely  modern  native  appeal 
of  the  works  of  Stackpole  and  Young  and  Eraser.  But  for  those 
of  us  who  are  sculpture  lovers  without  asking  why,  they  come 
closer  to  our  hearts  and  dwell  more  intimately  in  our  minds 
than  any  of  these.  ''Descending  Night**  especially  has  a  sen- 
suous charm  of  graceful  line,  a  maidenly  loveliness,  that  appeals 
irresistibly.     Both  figures  are  by  Adolph  A.  Weinman. 

Above  the  higher  basin  of  each  fountain  the  column  drum 
is  decorated  with  figures  in  relief.  While  the  two  friezes  are 
meant  to  be  decorative  primarily,  the  artist  has  employed  in 
each  case  a  symbolism  in  keeping  with  the  crowning  figure. 
The  frieze  in  the  Fountain  of  the  Rising  Sun  represents  "Day 
Triumphant.**  The  symbolic  figures  typify  the  awakening  of 
man's  finer  instincts  and  energies  at  the  call  of  the  morning, 
and  the  shrinking  of  the  vices  when  the  darkness  of  night  gives 
place  to  the  light  of  day.  The  relief -frieze  of  the  "Fountain  of 
the  Setting  Sun**  is  entitled  "The  Gentle  Powers  of  Night.** 
It  represents  Descending  Night  bringing  with  her  the  Stars,  the 
Moon-goddess,  Dreams,  and  similar  beautiful  things.  The 
lower  basins  of  both  fountains  contain  figures  of  centaurs  (a 
new  sea-variety,  with  fins)  holding  sea-monsters. 

Groups  surmounting  arches.  The  monumental  groups 
surmounting  the  two  triumphal  arches  are  "The  Nations  of 
the  East,**  on  the  Arch  of  the  Rising  Sun,  and  "The  Nations  of 

[27] 


NATIONS  OF  THE  WEST  (Above) 
NATIONS  OF  THE  EAST  (Below) 
A.  Stirling  Calder,  Leo  Lentelli, 
and  F.  G.  R.  Roth.  Sculptors 


COURT  OF  THE  UNIVERSE 

the  West/*  on  the  Arch  of  the  Setting  Sun.  The  symboHc  idea 
behind  the  two  compositions  thus  placed  facing  each  other,  is 
that  of  the  nations  of  the  Eastern  and  Western  Hemispheres  at 
last  meeting  on  this  Pacific  shore. 

The  Nations  of  the  East  is  made  up  of  five  mounted  and 
four  unmounted  figures,  all  typical  of  the  Orient.  Reading  from 
the  spectator's  left  to  right,  the  mounted  figures  are:  1.  an 
Arab  tribal  chief  on  a  horse;  2.  a  Mohammedan  standard- 
bearer  on  a  camel;  3.  the  East  Indian  on  his  richly-caparisoned 
elephant;  4.  another  Mohammedan  standard-bearer  on  a  camel; 
5.  a  Mongolian  horseman.  Between  the  mounted  figures  are 
the  following  on  foot:  1 .  a  servant  with  a  basket  of  fruits;  2.  an 
Arab  falconer;  3.  a  Thibetan  lama  or  priest;  4.  another  servant 
with  fruit. 

The  Nations  of  the  West  represents  typical  figures  from 
the  European  nations  which  have  helped  to  develop  America, 
together  with  two  American  Indians  and  an  Alaskan.  A  central 
composition  shows  the  Mother  of  Tomorrow  and  a  surmounting 
group  typifying  the  Spirit  of  Enterprise  which  has  led  the  Aryan 
race  to  conquer  the  West.  The  figures,  from  left  to  right,  are: 
1.  the  French-Canadian  (sometimes  called  "The  Trapper*'),  on 
horseback;  2.  the  Alaskan,  carrying  totem  poles,  on  foot;  3.  the 
Spanish-American  conqueror,  mounted;  4.  the  German-Ameri- 
can, on  foot;  5.  the  Mother  of  Tomorrow,  on  the  tongue  of  the 
ox-drawn  prairie  schooner;  6.  the  Italian- American,  on  foot; 
7.  the  English-American,  mounted;  8.  an  Indian  squaw;  9.  the 
American  Indian,  mounted.  On  top  of  the  prairie  schooner 
the  Spirit  of  Enterprise  is  represented  by  a  spirited  winged 
figure,  with  a  boy  at  either  hand. 

The  way  in  which  the  two  groups  balance  each  other  at  the 
two  ends  of  the  court  is  worthy  of  study — the  elephant  of  the 
one  offset  by  the  prairie  schooner  of  the  other.  Indeed  each 
feature  of  one  is  balanced  in  the  other  so  that  the  two  will  mass 
against  the  sky  with  the  same  general  decorative  effect.  "The 
Nations  of  the  East,"  considered  as  a  whole,  seems  the  more 
satisfying  group — richer  in  feeling,  more  unified  in  design,  and 
more  massive;  in  short,  more  monumental  and  therefore  better 
fitted  to  crown  the  noble  arch.  But  if  this  fits  its  setting  better, 
and  masses  against  the  sky  more  satisfyingly,  "The  Nations  of 
the  West"  will  be  found  on  close  examination  to  contain  the 

[29] 


COURT  OF  THE  UNIVERSE 

better  individual  figures.  The  Alaskan  (unfortunately  almost 
lost  to  view  in  the  present  placing  of  the  group),  the  Canadian 
Trapper,  and  the  mounted  Indian  are  all  worthy  of  prolonged 
study;  and  the  figure  of  the  Mother  of  Tomorrow  is  one  of  the 
finest  bits  of  sculpture  at  the  Exposition.  In  these  figures,  and 
only  slightly  less  so  in  the  other  figures  of  this  and  the  opposite 
group,  there  is  ample  evidence  that  the  American  sculptors 
have  outgrown  the  traditions  of  by-gone  **schools**  and  have 
developed  a  genuine  native  medium  of  expression.  The  two 
groups  are  the  work  of  A.  Stirling  Calder,  Leo  Lentelli,  and 
Frederick  G.  R.  Roth  in  collaboration. 

Figures  at  north  and  south  of  sunken  garden.  Flanking 
the  stairways  to  the  sunken  garden  at  north  and  south  are  four 
large  figures  by  Robert  Aitken,  typifying  **The  Elements." 

Air  is  at  the  west  end  of  the  south  stairway,  and  is  repre- 
sented as  a  huge  winged  female  figure  putting  a  star  in  her  hair. 
Two  birds,  old-time  symbols  of  the  air,  complete  the  suggestion. 
At  the  back  a  man  has  tied  himself  to  the  wings  of  the  figure — 
typifying  man's  effort  to  put  to  his  own  use  the  wings  of  the  air. 

Earth  is  placed  at  the  east  end  of  the  south  stairway.  A 
huge  female  figure  rests  on  conventionalized  rocks,  and  a  form- 
alized tree  partially  supports  her.  At  the  back  two  small 
struggling  figures  are  seen,  typifying  man's  struggle  with  the 
forces  of  earth. 

Water  is  placed  at  the  east  end  of  the  north  stairway.  The 
sea-god,  with  his  trident  in  one  hand  and  sea-weed  in  the  other, 
rides  on  a  wave,  with  a  dolphin  beside  him. 

Fire — at  the  west  end  of  the  north  stairway — is  typified  by 
the  figure  of  a  man  in  agony,  with  one  hand  grasping  the  flame, 
and  with  jagged  lightning  in  the  other,  symbolizing  man's 
terror  of  fire  as  well  as  his  conquering  of  it.  A  salamander  com- 
pletes the  main  design,  while  at  the  back  the  phoenix,  bird 
fabled  to  rise  from  fire,  helps  support  the  figure. 

These  four  figures  are  of  the  sort  of  art  that  is  likely  to  turn 
the  unthinking  person  away,  though  a  study  of  them  will  bring 
out  new  beauties  with  riper  acquaintance.  Because  people  fail 
to  get  far  enough  away  from  them  to  obtain  the  proper  per- 
spective, the  statues  seem  too  huge,  too  strong,  too  terrible,  ever 
to  be  attractive.  They  are,  it  is  true,  out  of  scale,  and  thus 
mar  the  effect  of  the  court  to  a  certain  extent.    But  there  is  in 

[30] 


COURT  OF  THE  UNIVERSE 

them  something  of  the  noble  and  compelHng  strength  of  the 
statues  of  Michael  Angelo — to  whom  the  sculptor  clearly  owes 
his  inspiration.  Stand  between  the  columns  at  the  corner  of 
the  Transportation  Palace,  and  you  will  see  that  the  figure  of 
Fire  not  only  is  imaginatively  conceived  but  is  a  fine  line  com- 
position as  well.  Study  of  the  other  three  from  corresponding 
viewpoints  will  well  repay  in  increased  understanding  and 
pleasure. 

Figures  at  east  and  west  of  sunken  gardens.  Flanking 
the  east  and  west  stairways  are  two  groups  by  Paul  Manship. 
The  one  representing  two  girls  dancing  or  running  is  called 
sometimes  "Festivity,'*  sometimes  **Motion.**  Here  the  artist 
has  welded  the  figures  into  an  ornamental  design  in  a  way 
unparalleled  in  the  work  of  other  American  sculptors.  Note 
the  finely  varied  outline,  the  sense  of  rhythmic  motion,  and  the 
rich  feeling  that  every  part  is  decorative.  The  opposite  group 
is  called  **Music"  or  **Music  and  Poetry.**  It  lacks  the  flowing 
grace  and  something  of  the  richness  of  feeling  of  the  other, 
though  it  is  more  dignified.  There  is  the  same  conventionaliza- 
tion in  treatment,  again  charming.  These  groups  are  not  for 
people  who  look  for  realism  in  art  above  all  else;  but  for  those 
who  care  for  the  classic,  who  see  in  formalization  a  short-cut 
to  the  expression  of  the  spirit  of  a  thing,  there  are  few  more 
appealing  groups  in  the  grounds.  The  figures  are  repeated  at 
the  east  and  west  entrances  to  the  garden. 

Minor  Sculptures.  The  slender  * 'Stars'*  along  the  top  of 
the  colonnade  are  the  work  of  A.  Stirling  Calder.  When  one 
remembers  that  this  is  the  Court  of  the  Universe,  they  seem  to 
fit  in  with  the  meaning  of  the  whole,  and  architecturally  their 
symmetry  of  form  fits  them  well  for  repetition.  The  low  relief 
friezes  on  the  corner  pavilions  represent  **The  Signs  of  the 
Zodiac,**  and  are  by  Hermon  A.  MacNeil.  A  formalized  Atlas 
is  represented  in  the  center,  and  at  each  side  are  seven  of  his 
daughters,  the  Pleiades  and  the  Hyades.  v  ho»n  the  gods  changed 
into  stars.  Twelve  of  the  maidens  have  piaques  bearing  the 
symbols  of  the  Zodiac.  The  frieze  is  well  composed  and  beauti- 
fully modeled,  but  the  rough  Travertine  does  not  do  it  justice. 
The  minor  sculptures  on  the  triumphal  arches  consist  of  a  re- 
peated winged  angel  with  sword  down-turned,  by  Leo  Lentelli; 
spirited  spandrels  over  the  arches,  representing  **Pegasus,**  by 

131  1 


COURT  OF  THE  UNIVERSE 

Frederick  G.  R.  Roth;  and  two  well-adapted  medallions  by  A. 
Stirling  Calder  and  B.  Bufano.  All  of  these  decorative  features 
are  repeated  on  both  sides  of  both  arches. 

MURAL  PAINTINGS 

The  four  mural  paintings  of  the  Court  of  the  Universe,  two 
under  each  of  the  triumphal  arches,  represent  the  progress  of 
civilization  from  the  old  world  to  the  American  far  West.  The 
two  under  the  Arch  of  the  Rising  Sun,  at  the  east  of  the  court, 
represent  the  nations  that  crossed  the  Atlantic  and  their  ideals, 
while  those  under  the  western  arch  show  the  march  of  the  pio- 
neers from  New  England  to  California.  To  obtain  the  proper 
sequence  of  thought  the  ones  under  the  eastern  arch  should  be 
examined  first.  ' 

Murals  in  Arch  of  the  Rising  Sun.  On  the  south  wall  of 
the  arch  is  a  panel  representing  the  nations  that  have  dared  to 
cross  the  Atlantic  to  bring  their  civilization  to  America.  The 
figure  farthest  to  the  spectator's  right  represents  the  spirit  of 
adventure  or  **The  Call  to  Fortune."  Then  follow  representa- 
tives of  the  nations,  in  this  order:  1 .  the  half-savage  of  the  lost 
Continent  of  Atlantis;  2.  the  Roman  conqueror;  3.  the  Spanish 
explorer,  typified  by  a  figure  resembling  Columbus;  4.  the  Eng- 
lish explorer,  resembling  Raleigh;  5.  a  priest,  typifying  the 
bringing  of  European  religion  to  America;  6.  the  artist,  bring- 
ing the  arts;  and  7.  the  workman-immigrant  of  today.  Then 
follows  an  allegorical  veiled  figure,  with  hand  to  ear,  listening 
to  the  hopes  and  ideals  of  the  men  who  are  following  the  call  to 
fortune. 

The  opposite  panel  shows  what  the  veiled  figure  has  heard — 
depicts  the  hopes  and  ideals  that  have  led  men  to  cross  the 
Atlantic.  At  the  far  left  are  figures  symbolizing  True  Hope 
and  False  Hope.  Soap  bubbles  are  being  scattered  by  False 
Hope,  and  the  third  figure,  typifying  Adventure,  tries  to  pick 
them  up.  Then  follow  the  true  ideals  and  hopes  in  this  order: 
1.  Commerce  2.  Imaginative  Inspiration;  3.  Truth  and  Beauty 
(one  figure);  4.  Religion;  3.  Wealth;  and  6.  Family  Joys  (a 
woman  with  babes).  In  this  panel  the  background  contains 
suggestions  of  Asiatic  and  American  cities.  In  the  other  panel 
the  background  shows  a  group  of  ships,  ranging  from  those  of 
the  earliest  times  to  the  modern  liner. 

[  32  1 


COURT  OF  THE  UNIVERSE 

These  two  paintings  are  worthy  of  study  for  the  historical 
and  symbolic  interest.  Artistically  they  are  notable  chiefly  for 
the  remarkable  freshness  of  coloring  and  rich  mosaic  effect. 
Both  are  by  Edward  Simmons. 

Murals  in  Arch  of  the  Setting  Sun,  at  the  west  side  of  the 
court.  The  painting  on  the  north  wall  should  be  viewed  first. 
This  represents  pioneers  from  a  New  England  village  starting 
for  California.  There  are  four  groups  of  figures,  as  follows: 
l.two  workmen,  and  a  woman  holding  a  child;  2.  a  symbolic 
figure  of  the  Call  to  Fortune;  3.  a  group  showing  the  types  of 
those  who  crossed  the  continent — the  driver  first,  and  then 
the  Preacher,  the  Pioneer,  the  Judge,  and  the  Schoolmistress 
(there  are  four  children  also  in  this  group,  and  at  the  back  is  a 
wagon  filled  with  household  goods);  and  4.  a  youth  bidding 
farewell  to  his  parents  as  he  starts  to  join  the  band  of 
emigrants.  At  the  back  of  the  last  group  is  seen  a  typical 
New  England  home,  and  in  the  distance  a  New  England 
meeting-house. 

**The  Arrival  on  the  Pacific  Coast**  is  the  title  of  the  painting 
on  the  opposite  wall,  which  represents  the  immigrants  being 
welcomed  as  they  reach  California.  Here  again  there  are  four 
groups  of  figures.  The  first  shows  two  Spanish-American 
soldiers  and  their  captain,  following  a  priest,  typical  of  the  days 
of  Spanish  rule  in  California  and  of  the  Mission  period.  Second, 
there  is  a  symbolic  figure,  "The  Spirit  of  Enlightenment.'*  The 
third  and  main  group  shows  types  of  immigrants.  The  men 
here  are:  1.  the  scientist;  2.  the  architect;  3.  the  writer;  4.  the 
sculptor;  5.  the  painter;  6.  the  agriculturist;  and  7.  the  miner 
(or  other  manual  worker).  A  woman  and  several  children  com- 
plete the  group,  and  at  the  back  is  a  prairie  schooner,  from 
which  a  girl  waves  a  flag.  The  fourth  group  represents  Cali- 
fornia welcoming  the  immigrants,  the  state  being  symbolized 
by  tokens  of  the  wealth  it  has  to  offer  settlers:  the  orange  tree, 
sheaves  of  grain,  and  fruits — the  figures  including  the  miner, 
the  farmer,  fruit  pickers,  and  the  California  bear.  This  last 
group  is  the  most  colorful,  and  in  many  ways  the  most  appealing, 
of  all  those  in  the  two  panels  under  the  west  arch.  It  is  interest- 
ing to  compare  the  golden  warmth  here — and  indeed  through- 
out the  California  panel — with  the  cold  atmosphere  of  the  New 
England  one. 

133) 


COURT  OF  THE  UNIVERSE 

Those  who  are  famiHar  with  the  historical  characters  of  the 
West  will  be  able  to  recognize  in  the  California  panel  idealized 
portraits  of  William  Keith  as  the  painter,  Bret  Harte  as  the 
writer,  and  Junipero  Serra  as  the  priest.  In  the  New  England 
panel  may  be  found  William  Taylor,  famous  street  preacher  of 
the  early  days  in  California,  as  the  preacher,  and  "Grizzly** 
Adams  as  the  pioneer. 

Both  murals  under  the  Arch  of  the  Setting  Sun  are  by  Frank 
Vincent  Dumond. 

THE  SIDE  COURTS 

The  two  small  connecting  courts,  or  aisles,  at  the  east  and 
west  of  the  Court  of  the  Universe  are  known  as  the  Florentine 
Court  and  the  Venetian  Court  respectively.  Both  are  in  Italian 
Renaissance  architecture,  and  both  are  remarkably  rich  in  color. 
The  patterns  on  the  shafts  of  the  columns,  while  doubtless 
adding  to  the  feeling  of  richness,  are  a  little  too  pronounced, 
tending  to  destroy  that  restfulness  which  is  felt  in  the  other 
Italian  courts,  the  Court  of  Flowers  and  the  Court  of  Palms. 
In  both  the  Florentine  Court  and  the  Venetian  Court  the 
planting  schemes  harmonize  unusually  well  with  the  architecture. 


SIZE  OF  THE  COURT  OF  THE  UNIVERSE 

For  the  sake  of  those  who  find  added  interest  in  knowing  on 
what  scale  a  work  of  art  is  built,  the  following  facts  are  added: 

The  area  of  the  Court  of  the  Universe  is  about  seven  acres. 
On  its  east  and  west  axis,  from  arch  to  arch,  it  is  six  hundred 
and  fifty  feet;  on  its  north  and  south  axis,  from  the  Tower  of 
Jewels  to  the  Column  of  Progress,  it  is  nearly  twelve  hundred 
feet. 

The  Arches  of  the  Rising  Sun  and  the  Setting  Sun  have  a 
total  height,  to  the  top  of  the  surmounting  sculpture,  of  two 
hundred  and  three  feet. 

The  Tower  of  Jewels  is  433  feet  in  height,  while  the  main 
archway  beneath  is  1 1 0  feet  high. 


1341 


COURT  OF  THE  FOUR  SEASONS 

The  Court  of  the  Four  Seasons,  unUke  the  other  main  courts, 
does  not  immediately  call  forth  one*s  exclamations  of  surprise 
and  delight.  It  is  not  so  compellingly  beautiful  as  either  of  the 
others.  Nevertheless  it  has  a  distinctive  charm  of  its  own — a 
reposeful  atmosphere  and  a  simplicity  of  form  that  become 
more  and  more  appealing  with  riper  acquaintance.  It  is  a  good 
place  to  come  to  when  one  is  satiated  with  the  beauties  of  the 
other  courts,  for  restfulness  is  the  keynote.  The  simple  massive 
style  of  the  architecture  and  the  simple  planting  scheme  com- 
bine to  produce  a  spirit  of  calm.  The  ideas  of  energy,  achieve- 
ment, progress,  effort — so  insistently  emphasized  elsewhere- — 
are  left  behind,  and  everything  breathes  a  sense  of  peace  and 
orderliness,  of  things  happening  all  in  good  season. 

The  primary  idea  underlying  the  decorative  features  of  the 
court  is  sufficiently  indicated  in  the  name,  "The  Four  Seasons;'* 
and  this  idea  is  symbolically  expressed  in  the  sculpture  and 
mural  paintings  in  the  four  corners  of  the  colonnade.  But  a 
study  of  the  other  decorations  shows  that  the  idea  of  abundance, 
or  fruitfulness,  was  equally  in  the  minds  of  architect  and  sculp- 
tors. The  purely  architectural  ornaments,  such  as  the  capitals 
and  the  running  borders,  employ  the  symbols  of  agriculture 
and  fruitfulness,  while  no  less  than  five  of  the  main  sculptural 
groups  or  figures  deal  directly  with  harvest  themes. 

ARCHITECTURE 

The  style  of  architecture  is  in  general  Roman.  The  half- 
dome  and  the  colonnades  are  almost  severely  classic.  The 
column  capitals  are  Ionic.  But  in  the  freedom  of  some  of  the 
architectural  forms,  particularly  in  the  archways  at  east  and 
west,  there  is  a  suggestion  of  Renaissance  influence.  The  plan 
with  its  four  cut-corners  with  fountains,  and  its  half-dome 
facing  down  the  long  colonnade  to  the  bay,  is  ingenious.  The 
half-dome  itself,  dominating  feature  of  the  court,  is  exception- 
ally dignified  and  impressive.  To  obtain  the  best  view  of  it  as 
a  single  unit,  one  should  stand  between  two  columns  of  the 
colonnade  near  either  the  Fountain  of  Summer  or  the  Fountain 

[35] 


THE  FEAST  OF  SACRIFICE 
Albert  Jaegers,  Sculptor 


(By  courtesy  of  Paul  Elder  &  Company) 


COURT  OF  FOUR  SEASONS 

of  Autumn — as  from  these  points  the  eye  is  not  carried  through 

the  doorway  at  the  back  of  the  dome,  to  the  detriment  of  a 

unified  impression. 

Henry  Bacon  is  the  architect  who  designed  the  Court  of  the 

Four  Seasons. 

SCULPTURE 

Bulls  on  pylons.  The  finest  sculpture  here  is  to  be  found 
in  the  groups  capping  the  pylons  at  the  entrance  to  the  minor 
north  court.  Though  called  by  the  artist  **The  Feast  of  Sacri- 
fice," these  are  commonly  known  as  **The  Bulls.**  The  group, 
which  is  duplicated,  shows  a  bull  being  led  to  sacrifice  by  a 
youth  and  a  maid,  and  is  reminiscent  of  the  harvest- time  cele- 
brations of  ancient  peoples.  But  it  is  just  as  well  to  forget  the 
subject,  and  to  admire  purely  for  the  sensuous  charm — for  the 
beauty  of  outline,  the  fine  modeling,  and  the  remarkable  sense 
of  spirited  action.  Note  the  three  figures  individually:  the 
nobly  animated  bull,  the  magnificently  set-up  youth,  and  the 
strong  yet  graceful  maiden ;  then  note  how  the  sacrificial  garland 
holds  the  whole  group  together  and  makes  it  richer.  Note,  too, 
how  the  forward-moving  lines  of  the  bull  are  accentuated  on  one 
side  by  the  similar  lines  of  the  youth*s  body,  and  on  the  other 
by  the  contrasting  lines  of  the  girFs.  Putting  aside  any  question 
of  meaning,  there  is  not  in  any  of  the  courts  a  nobler  bit  of 
decorative  work  than  this.    Albert  Jaegers  was  the  sculptor. 

Figures  surmounting  columns.  On  the  two  columns 
before  the  half-dome  are  Albert  Jaegers*  figures  of  **Rain"  and 
* 'Sunshine.*'  At  the  right,  as  one  faces  the  dome,  Rain  is  typi- 
fied by  a  woman  shielding  her  head  with  her  mantle  and  holding 
out  a  shell  to  catch  the  water.  At  the  left  Sunshine  is  repre- 
sented by  a  woman  shielding  her  head  from  the  sun's  rays  with 
a  palm-branch.  Both  figures  are  characterized  by  a  sense  of 
richness,  of  fullness,  that  is  perfectly  in  keeping  with  the  spirit 
of  the  court.  In  commenting  on  these  statues,  in  one  of  his 
lectures  on  the  art  of  the  Exposition,  Eugen  Neuhaus,  the  well- 
known  California  painter,  suggested  very  appropriately  that 
the  court  should  have  been  named  for  them  **The  Court  of  the 
Two  Seasons"  —  since  in  California  the  only  noticeable  sea- 
sonal change  is  from  a  sunny  period  to  a  rainy  period. 

Group  surmounting  half-dome.  This  shows  a  conven- 
tional seated  figure  of  Harvest,  with  an  overflowing  cornucopia. 

1371 


"AUTUMN"  NICHE  IN  COURT  OF  FOUR  SEASONS 
Henry  Bacon.  Architect  Furio  Piccirilli,  Sculptor 


COURT  OF  FOUR  SEASONS 

At  one  side  a  child-figure  bows  under  a  load  of  fruit.  This  group 
also  is  by  Albert  Jaegers.  Here,  as  in  **Rain"  and  * 'Sunshine," 
there  is  a  sense  of  fruitfulness,  of  profuseness,  a  maternal  sug- 
gestion that  helps  to  carry  out  the  symbolism  of  the  court.  In 
all  three  of  these  statues,  too,  there  is  something  of  the  nobility 
and  massiveness  that  distinguish  the  same  artist's  **buir'  groups 
across  the  court.  All  are  eminently  suited  to  the  massive  Roman 
architecture;  nowhere  else  have  sculptor  and  architect  worked 
together  more  successfully. 

Fountains  of  the  Seasons.  In  the  niches  formed  at  the 
corners  of  the  court  by  the  diagonal  colonnades  are  novel 
fountains,  surmounted  by  groups  representing  the  four  seasons. 
It  is  well  to  go  first  to  the  southwest  corner,  to  the  ** Fountain 
of  Spring";  then  to  the  northwest  corner,  for  **Summer";  and 
so  on  around  the  court.  If  one  is  ever  puzzled  to  understand 
from  the  figures  which  season  is  represented,  a  glance  at  the 
labeled  murals  up  above  in  the  corridor  will  give  the  proper 
title — for  statue  and  murals  of  each  season  are  grouped  together. 

Spring.  A  young  woman  draws  a  floral  garland  over  her 
head,  while  at  her  right  a  love-lorn  youth  turns  a  pleading  face 
to  her,  and  at  her  left  a  girl  brings  armfuls  of  flowers. 

Summer.  To  a  man  a  woman  holds  up  a  babe,  symbol  of 
the  summer  of  human  life,  while  at  one  side  a  crouching  figure 
holds  a  sheaf  of  full-headed  grain. 

Autumn.  The  central  figure  is  a  woman  of  generous  build 
with  a  jar  on  her  shoulder — quite  the  usual  personification  of 
Autumn  or  fruitfulness.  At  one  side  a  young  woman  holds  a 
garland  of  grapes,  and  at  the  other  is  a  girl  with  a  babe.  This 
last  figure  is  perhaps  the  most  graceful  in  all  the  four  groups, 
though  the  same  sort  of  loveliness  distinguishes  to  a  certain 
extent  the  two  flower-girls  of  * 'Spring."  Altogether,  this  * 'Au- 
tumn" fountain  is  probably  the  finest  of  the  four. 

Winter.  The  central  figure  is  Nature,  in  the  nakedness  of 
winter,  resting  after  the  harvests  of  autumn  and  waiting  for 
the  birth  of  spring.  At  one  side  a  man  with  a  spade  rests,  while 
on  the  other  a  man  with  a  seed-bag  is  already  beginning  to  sow. 
Although  all  the  figures  of  "The  Fountains  of  the  Seasons"  are 
nude,  there  is  about  this  group  a  sense  of  cold  nakedness  that 
well  accords  with  the  season  it  portrays. 

139] 


COURT  OF  FOUR  SEASONS 

These  four  groups  are  very  properly  alike  in  composition 
and  feeling — suggesting  perhaps  that  the  differences  between 
the  seasons  in  California  are  but  slight.  There  is  throughout 
a  conventional  touch,  and  all  are  in  pastoral  mood.  The  groups 
are  by  Furio  Piccirilli. 

The  Fountain  of  Ceres  is  in  the  north  extension  of  the  court, 
between  the  Palace  of  Food  Products  and  the  Palace  of  Agriculture. 
The  surmounting  figure  is  of  Ceres,  Greek  goddess  of  the  fields 
and  especially  of  corn.  The  bas-relief  frieze  represents  a  group 
of  dancers,  suggestive  of  the  seasonal  festivals  of  the  Greeks. 
The  main  figure  has  been  much  criticized,  but  an  unbiased 
critic  may  find  much  in  the  fountain  to  praise.  The  pedestal 
and  the  crowning  figure  are  well  thought  out,  and  the  propor- 
tions of  the  whole  are  good;  and  there  is  a  feeling  of  classic 
simplicity  throughout.  The  frieze  of  dancing  girls,  too,  is 
exceptionally  graceful.  If,  then,  one  discovers  that  Ceres  is 
more  mature  than  a  goddess  ever  ought  to  be,  or  that  her  face 
suggests  that  of  an  exasperated  school-teacher,  or  if  one  finds 
the  cornstalk  in  her  hand  a  realistic  thing  incompatible  with  any 
poetic  conception,  it  is  well  to  step  back  until  one  gets  only  the 
general  effect.  For  there  is  much  to  admire  in  the  poise  of  the 
figure,  in  the  decorative  outline,  and  in  the  sculptor's  lightness 
of  touch.  The  fountain  was  designed  by  Evelyn  Beatrice 
Longman. 

Minor  Sculptures.  On  the  archways  at  east  and  west  of 
the  court  a  high-relief  figure  by  August  Jaegers  is  repeated  eight 
times,  and  the  spandrels  over  the  arches  are  by  the  same  artist. 
In  both  cases  the  idea  of  abundance  or  fruitfulness  again  sup- 
plies the  motive.  The  boxes  at  the  bases  of  the  columns  on 
which  **Rain**  and  * 'Sunshine"  stand  are  decorated  with  agri- 
cultural scenes  in  low  relief.  The  capitals  at  the  tops  of  these 
columns  are  enriched  with  groups  of  agricultural  figures. 
Within  the  archways  at  east  and  west  the  ceilings  are  decorated 
with  delicate  bas-relief  designs,  patterned  after  the  famous  ones 
at  Villa  Maderna,  Rome. 

MURAL  PAINTINGS 

All  the  murals  in  the  Court  of  the  Four  Seasons  are  by  H. 
Milton  Bancroft.  In  general  they  are  less  interesting  than  those 
of  any  other  court. 

[40] 


COURT  OF  FOUR  SEASONS 

The  Seasons.  In  the  four  corners  of  the  colonnade  there 
are  eight  panels,  grouped  by  twos  as  follows:  Spring  and  Seed 
Time;  Summer  and  Fruition;  Autumn  and  Harvest;  and 
Winter  and  Festivity.  There  is  little  to  hold  the  attention 
either  in  richness  of  color  or  in  unusual  grace  of  composition. 
Moreover,  the  artist  has  left  nothing  to  the  imagination  in  the 
symbolism  by  which  he  expresses  the  several  ideas.  The  devices 
are  so  hackneyed,  and  the  meaning  so  obvious,  that  any  sort 
of  interpretation  would  be  entirely  superfluous. 

Panels  under  half-dome.  On  the  east  wall  under  the 
dome  is  the  panel  Art  Crowned  by  Time.  Father  Time 
crowns  Art,  while  on  one  side  stand  figures  representing  Weav- 
ing, Jewelry,  and  Glasswork,  and  on  the  other  Printing,  Pottery, 
and  Smithery.  On  the  opposite  wall  is  the  panel  Man  Receiv- 
ing Instruction  in  Nature's  Laws.  A  woman  holds  before  a 
babe  a  tablet  inscribed  **Laws  of  Nature,'*  while  on  one  side  are 
figures  of  Fire,  Earth  and  Water,  and  on  the  other  figures  of 
Death,  Love,  and  Life.  These  two  larger  panels  are  more  pleas- 
ing than  the  eight  representing  the  Seasons,  both  in  coloring 
and  in  figure  composition;  and  they  make  pleasing  spots  of 
bright  color  in  the  dome.  But  again  the  artist  is  tediously 
careful  to  make  his  meanings  plain.  Not  only  does  each  figure 
hold  its  obvious  symbol  prominently  in  view,  but  there  are 
labels  naming  the  figures.  To  the  art  student  the  painter's 
stipple-and-line  method,  producing  vibration  of  light  and  a 
certain  freshness  of  atmosphere,  will  be  of  interest,  as  being  out 
of  the  usual  run  of  mural  technique. 

Before  leaving  the  Court  of  the  Four  Seasons  one  should 
stand  under  the  central  arch  of  the  triple  portal  at  the  east, 
and  look  first  to  the  east  through  the  Arch  of  the  Setting  Sun 
to  the  group  * 'Nations  of  the  East;"  and  then  to  the  west  along 
the  vista  that  ends  with  the  kneeling  figure  before  the  Fine 
Arts  temple.  The  arrangement  of  architectural  and  sculptural 
units  in  both  vistas  is  worthy  of  study. 


[41 


THE  END  OF  THE  TRAIL 
James  Earl  Eraser,  Sculptor 


THE  COURT  OF  PALMS  AND  THE 
COURT  OF  FLOWERS 

In  these  two  courts,  which  pierce  the  walled  city  on  the  south, 
opposite  the  Palace  of  Horticulture  and  opposite  Festival  Hall, 
is  to  be  found  the  purest  expression  of  that  spirit  of  the  Italian 
Renaissance  which  hovers  over  so  much  of  the  Exposition 
architecture.  Here,  too,  one  finds  Jules  Guerin*s  color  scheme 
at  its  richest.  Both  courts  necessarily  lack  the  cloistral  charm 
of  the  Court  of  Abundance,  since  they  have  the  fourth  sides 
open.  But  what  they  lack  in  the  sense  of  enclosure  they  make 
up  in  sunniness  and  joyous  color.  They  are  restful  and  warm 
and  quiet — and  artistically  they  are  among  the  most  perfect 
and  most  harmonious  units  on  the  grounds. 

THE  COURT  OF  PALMS 

The  Court  of  Palms  is  directly  opposite  the  Palace  of  Horti- 
culture, between  the  Education  and  Liberal  Arts  Palaces,  and 
adjoins  the  Court  of  the  Four  Seasons.  The  charming  sunken 
garden  and  simple  pool  reflect  the  colored  colonnade,  arches 
and  towers  with  a  sense  of  rest  that  is  a  relief  and  stimulant 
after  walking  miles  of  exhibit  halls.  Although  really  nearly  two 
acres  in  area,  the  court  seems  small  and  intimate.  The  pro- 
portions are  good,  and  the  planting  particularly  fortunate. 

The  architecture  is  Renaissance,  and  is  suggestive  of  the 
interior  courts  of  the  palaces  of  the  Italian  nobles.  The  colon- 
nade columns  are  Ionic.  The  high  attic  story  or  frieze  above  the 
colonnade  is  remarkably  rich,  with  its  orange  brown  panels 
garlanded  with  green  and  red  fruits,  and  decorated  with  Carya- 
tid pilasters.  It  is  worthy  of  study  for  the  way  in  which  archi- 
tect, sculptor  and  color  director  have  co-operated.  The  Italian 
Towers,  terminating  the  colonnades,  are  among  the  finest  bits 
of  architectural  design  in  the  whole  building  group.  Though 
only  a  fraction  of  the  height  of  the  Tower  of  Jewels,  they  convey 
much  better  the  impression  of  reaching  high  into  the  heavens, 
of  aspiration  and  uplift.  They  are  more  satisfying,  too,  in  their 
combination  of  architectural  forms,  and  they  carry  out  notably 
well  the  delicate  but  luxuriant  color  scheme  of  the  court.    The 

[43] 


COURT  OF  PALMS 

unusual  repeated  pattern  which  fills  the  large  wall  panels  of 
the  towers  is  worthy  of  attention. 

The  architect  of  the  court  was  George  W.  Kelham. 

Sculpture.  The  only  really  important  statue  in  the  court 
is  that  which  stands  at  the  opening  on  the  Avenue  of  Palms — 
called  The  End  of  the  Trail.  An  Indian,  bowed  at  last  under 
the  storm,  sits  astride  a  dejected  horse — utter  weariness,  dis- 
couragement, lost  hope,  expressed  in  every  line  of  man  and 
animal.  Some  see  in  the  statue  only  the  abject  despair  of  a 
horse  and  rider  when  the  consciousness  finally  comes  that  the 
trail  is  definitely  lost  in  the  wilderness;  and  it  is  notable  enough 
as  an  expression  of  this  tragic  theme.  But  others,  remembering 
the  history  of  the  Indian,  see  here  an  eloquent  and  pathetic 
reminder  of  a  race  that  has  seemingly  come  to  the  end  of  its 
trail.  As  a  portrayal  of  this  racial  tragedy  the  group  is  even 
more  remarkable  than  as  an  expression  of  the  hopelessness  of  a 
lost  man  and  horse. 

The  statue  is  hardly  in  key  with  its  architectural  surround- 
ings; but  its  comparatively  isolated  position  prevents  it  from 
seeming  an  intrusive  element  in  the  court.  Considered  alone 
it  is  more  individual,  more  expressive  of  independent  and  deep- 
moving  thought,  than  any  other  sculpture  in  the  grounds. 
There  is  far  more  of  real  earnestness  here  than  is  usual  in  exposi- 
tion sculpture.  The  thing  is  significant,  too,  for  the  native 
note.  It  is  worthy  of  serious  study  as  indicating  one  of  the  most 
important  tendencies  of  American  sculpture  when  not  tied  to 
the  purely  decorative.     The  sculptor  was  James  Earl  Fraser. 

The  minor  sculptures  in  this  court  consist  of  the  Caryatides 
by  John  Bateman  and  A.  Stirling  Calder;  the  spandrels,  by 
Albert  Weinert;  "The  Fairy,"  by  Carl  Gruppe,  which  crowns 
the  Italian  Towers;  and  the  classic  vases  at  the  portals. 

The  mural  paintings  in  this  court  are  disappointing. 
Two  are  surprisingly  poor,  considering  the  high  reputation  of 
the  artists,  and  the  third  is  badly  placed.  The  tympanum  in 
the  portal  at  the  east  side  of  the  court  is  filled  by  Charles  W. 
Holloway's  panel.  The  Pursuit  of  Pleasure.  This  is  a  con- 
ventional treatment  of  the  subject,  in  which  a  number  of  youths 
and  maidens  turn  lackadaisically  to  a  winged  figure  of  Pleasure. 
There  is  a  pleasing  lightness  of  touch,  and  the  bright  reds  and 
blues  are  in  keeping  with  the  spirit  of  the  court — but  the  thing 

[44  1 


COURT  OF  PALMS 

is,  somehow,  insipid.  This  panel  is  more  pleasing  under  illumi- 
nation. In  the  opposite  portal  is  Childe  Hassam's  painting, 
Fruits  and  Flowers.  This  again  is  a  conventional  treatment, 
showing  very  obviously  vegetable  and  human  fruits  and  flowers. 
The  arrangement  is  tediously  symmetric,  the  coloring  is  rather 
weak,  and  there  is  a  wooden  stiffness  about  the  figures.  The 
panel  makes  a  pleasant  spot  of  color,  but  is  by  no  means  up  to 
the  standard  of  the  canvases  in  Hassam's  room  in  the  Palace 
of  Fine  Arts. 

The  panel  over  the  main  doorway,  at  the  north  end  of  the 
court,  is  by  Arthur  F.  Mathews,  and  is  far  superior  to  the  other 
two,  though  unfortunately  placed  in  a  dark  spot.  It  is  called 
by  the  artist  A  Victorious  Spirit.  The  central  figure,  gor- 
geously suggesting  the  Spirit  of  Enlightment,  protects  Youth 
from  the  discordant  elements  of  life — from  materialism  and 
brute  force,  as  represented  by  the  rearing  horse  and  militant 
rider.  Youth  is  attended  by  the  peace-bringing  elements  of 
life,  by  Religion,  Philosophy  or  Education,  and  the  Arts.  The 
symbolism  here  is  sound,  the  composition  and  drawing  unusually 
good,  and  the  coloring  quite  wonderful — especially  in  the  orange- 
yellow  robe  of  the  Spirit.  The  full  deep  colors  are  in  sharp  con- 
trast with  those  of  most  of  the  Exposition  murals. 

No  one  should  leave  this  court  without  first  pausing  to  enjoy 
the  vista  through  the  north  doorway,  showing  Albert  Jaeger's 
spirited  Sacrificial  Bulls  on  the  Agriculture  and  Food  Products 
Palaces,  the  long  colonnade  of  the  Court  of  the  Four  Seasons, 
and  the  bit  of  bay  and  hills  beyond. 

THE  COURT  OF  FLOWERS 

The  Court  of  Flowers  is  opposite  to  Festival  Hall,  between 
the  Mines  and  Varied  Industries  Palaces.  The  first  impression, 
as  one  comes  to  it,  is  that  here  is  a  replica  of  the  colorful  Court 
of  Palms.  But  many  differences  become  evident  after  a  few 
moments'  study. 

The  architecture  is  Italian  Renaissance,  but  of  a  more 
richly  decorative  sort  than  in  the  Court  of  Palms.  There  is 
more  overlaid  ornament,  and  on  the  whole,  less  simplicity  and 
quietness  and  more  varied  interest.  The  columns  here  are  Cor- 
inthian, arranged  in  pairs.  The  gallery  above  the  colonnade 
adds  to  the  suggestion  of  the  sunny  South.    The  Italian  Towers, 

145] 


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COURT  OF  FLOWERS 

while  similar  in  feeling  to  those  of  the  other  court,  are  different 
in  the  arrangement  of  elements,  though  equally  successful. 
The  color  decoration  is  again  notable. 

It  is  hardly  necessary  to  add  that  George  W.  Kelham 
designed  this  court  too. 

Sculpture.  The  center  of  the  court  is  dominated  by  Edgar 
Walter's  Beauty  and  the  Beast  Fountain.  The  surmount- 
ing statue  is  a  curious  combination  of  graceful  lines  and  gro- 
tesque effects.  The  strange  Beast  is  no  less  fantastic  than  the 
young  lady  herself — she  who  has  adorned  her  fair  body  with 
nothing  more  than  a  Spring  hat  and  a  pair  of  sandals.  It  is 
probably  this  near-nudeness,  without  pure  nakedness,  that 
creates  the  jarring  note  of  the  group.  Certainly  there  is  a 
bizarre  touch  that  somewhat  offsets  the  sinuous  charm  of  the 
figure.  Under  the  upper  basin  are  four  piping  Pans,  not  notable 
individually,  but  adding  to  the  decorative  effect.  The  wall 
around  the  lower  pool  carries  a  playful  frieze  of  animals  in  low 
relief. 

The  Pioneer  is  the  title  of  the  equestrian  statue  at  the 
south  end  of  the  court,  on  the  Avenue  of  Palms.  The  man  is 
typically  the  Western  pioneer,  as  every  resident  of  the  Pacific 
Coast  has  known  him — a  patriarchal  figure  who  foreran  civili- 
zation here  in  the  West  of  America  as  he  has  in  all  other  new 
lands.  Head  up,  axe  and  gun  in  hand,  looking  straight  forward, 
he  is  a  fine  visualization  of  the  "Forty-niner."  He  is,  too, 
an  interesting  racial  contrast  to  the  Indian  of  "The  End  of  the 
Trail."  One  wonders,  however,  about  the  horse,  with  the 
elaborate  trappings  that  clearly  belong  to  another  era — to  the 
days  of  Spanish  conquest,  perhaps.  Certainly  horse  and  rider 
do  not  seem  to  be  conceived  in  the  same  spirit.  The  group 
lacks,  too,  that  vital  intensity  of  feeling  and  that  emotional 
strength  which  distinguish  "The  End  of  the  Trail,"  the 
companion -statue  in  the  Court  of  Palms.  The  "Pioneer" 
is  by  Solon  Borglum. 

The  minor  sculpture  here  consists  of  A.  Stirling  Calder's 
attractive  "Flower  Girl,"  repeated  in  the  niches  along  the 
loggia;  dignified  Lions,  by  Albert  Laessle,  flanking  the  three 
portals;  and  again  Carl  Gruppe's  "The  Fairy,"  atop  the 
Italian  Towers. 


[47] 


THE  TOWER  OF  JEWELS,  AND 
THE  FOUNTAIN  OF  ENERGY 

It  was  planned  that  the  Tower  of  Jewels  should  be  the  great 
dominating  feature  of  the  architectural  scheme  of  the  Exposi- 
tion; that  this  unit  more  than  any  other  should  stand  as  a  tri- 
umphal monument  to  celebrate  the  opening  of  the  Panama 
Canal.  The  mural  paintings,  the  sculpture  and  the  inscriptions 
all  carry  out  this  idea,  but  the  tower,  in  its  architectural  aspect 
alone,  fails  to  live  up  fully  to  its  purpose.  It  serves  well  to 
**center**  the  whole  scheme,  and  to  afford  an  imposing  pile  at 
the  main  entrance.  Nevertheless  it  falls  short  of  the  high 
architectural  standard  of  the  courts  and  palaces. 

ARCHITECTURE 

The  architectural  forms  used  in  the  design  of  the  tower  are 
in  general  classic;  but  the  architect  has  shown  considerable 
originality  in  their  arrangement  and  massing. 

The  lower  portion,  embracing  the  imposing  arch  and  flank- 
ing colonnades,  is  very  dignified  and  quite  satisfying.  Standing 
close  to  the  structure,  on  the  south  side,  so  that  one  is  conscious 
chiefly  of  this  lower  portion,  there  comes  the  proper  sense  of 
nobility — the  feeling  that  one  obtains  from  a  successful  tri- 
umphal arch.  The  chief  fault  of  the  tower  above  is  that  it 
lacks  the  long  lifting  lines  that  would  give  a  sense  of  aspiration. 
It  seems  just  a  little  squat  and  fat — as  if  it  were  too  heavy  on 
top  and  splayed  out  at  the  sides  and  bottom.  It  is  also  some- 
what **showy,**  with  too  much  hung-on  ornament;  and  the 
green  columns  against  red  walls  are  not  satisfying — this  being 
one  of  the  very  few  failures  of  the  color  scheme  in  the  entire 
group  of  buildings. 

At  night  the  tower  takes  on  a  new  and  unexpected  beauty. 
The  outline  softens  under  the  illumination,  and  the  feeling  of 
over-decoration  and  broken  lines  is  lost.  The  whole  structure 
becomes  a  huge  finger  of  light,  reaching  up  into  the  dark  heavens 
— with  softer  indirect  lighting  below,  and  glowing  brilliantly 
above.  Even  the  hundred  thousand  pendent  jewels,  which  at 
best  are  but  flashy  in  the  day  time,  add  to  the  exquisite  fairy- 

(48] 


TOWER  OF  JEWELS 

like  effect  at  night.  The  illumination  here  is  such,  indeed,  that 
it  must  be  one  of  the  most  impressive  and  lasting  memories  to 
be  carried  away  by  the  visitor. 

The  Tower  of  Jewels  was  designed  by  Thomas  Hastings,  of 
the  firm  Carrere  and  Hastings  of  New  York. 

SCULPTURE 

The  sculpture,  like  the  mural  paintings,  deals  in  general 
with  the  winning  of  the  Americas  and  the  achievement  of  the 
canal  project. 

Sculpture  on  the  tower.  As  one  stands  in  the  South 
Gardens  facing  the  tower,  one  sees  above  the  first  cornice, 
reading  from  left  to  right,  four  statues  of  The  Adventurer, 
The  Priest,  The  Philosopher,  and  The  Soldier.  These 
finely  realized  figures,  which  are  by  John  Flanagan,  represent 
four  types  of  the  early  conquerors  of  America.  On  the  next 
story  is  a  repeated  equestrian  statue  of  the  Spanish  Conqueror, 
called  The  Armored  Horseman,  by  F.  M.  L.  Tonetti.  These 
five  statues  are  repeated  on  the  other  three  faces  of  the  tower. 
There  is  much  other  sculpture  of  a  purely  decorative  sort,  the 
motives  used  being  those  usually  found  in  triumphal  monu- 
ments, such  as  eagles,  wreaths,  and  the  beaks  of  ships  with  which 
the  Romans  ornamented  the  columns  celebrating  their  naval 
successes. 

Equestrian  statues  at  entrance.  In  front  of  the  two 
side  colonnades  are  spirited  equestrian  statues.  As  one  faces 
the  tower,  the  figure  at  the  left  is  of  Pizarro,  who  conquered 
the  richest  portion  of  South  America  for  Spain.  This  figure  is 
heroically  decorative,  and  is  by  Charles  Carey  Rumsey.  At 
the  other  side  of  the  main  arch  is  Charles  Niehaus*  vigorous 
statue  of  Cortez,  who  won  Mexico  for  Spain.  This  figure, 
carrying  a  flag  and  pennon  on  a  lance,  and  perfectly  seated  on 
the  strong  horse,  has  a  live  sense  of  movement,  and  the  whole 
group  is  informed  with  the  spirit  of  the  lordly  conqueror. 

Fountains  under  the  tower.  Within  the  colonnades  to 
east  and  west  of  the  main  archway  are  respectively  the  Fountain 
of  Youth  and  the  Fountain  of  El  Dorado. 

The  Fountain  of  Youth  consists  of  a  central  figure  on  a 
pedestal,  and  two  rounded  side  panels  with  figures  in  relief. 
Youth  is  symbolized  as  a  girl,  an  immature  figure,  beautifully 

[49] 


FIGURE  FROM  FOUNTAIN  OF  YOUTH 
Edith  Woodman  Burroughs,  Sculptor 


TOWER  OF  JEWELS 

modeled.  She  stands,  perfectly  poised,  among  rising  blossoms. 
On  the  pedestal  are  more  flowers  in  relief,  and  two  dimly 
indicated  half -figures  of  a  man  and  woman  may  be  discovered. 

.  The  side  panels  show  old  people  being  drawn  away  in  ships 
manned  by  cherubs — old  people  who  gaze  back  wistfully  at  the 
Youth  they  are  leaving.  Really  the  fountain  is  far  more  charm- 
ing if  one  forgets  all  but  the  central  figure.  There  is  in  that  a 
sweet  tenderness,  a  maidenly  loveliness,  that  makes  it  the  per- 
fect embodiment  of  Youth — an  embodiment  to  be  remembered 
with  delight  again  and  again. 

The  fountain  was  designed  by  Edith  Woodman  Burroughs. 

f.  The  Fountain  of  El  Dorado  is  on  the  other  side  of  the  arch- 
way, and  is  by  Gertrude  Vanderbilt  Whitney.  It  represents,  as 
a  whole,  mankind's  pursuit  of  the  unattainable.  The  legend  of 
El  Dorado  is  that  there  once  lived  in  South  America  a  prince, 
"The  Gilded  One,'*  who  had  so  much  gold  that  daily  he  had  his 
body  covered  with  gold  dust.  Many  Spanish  explorers  spent 
fruitless  years  in  search  of  the  fabulously  rich  country  of  this 
prince.  The  idea  of  the  fountain  is  that  the  Gilded  One,  repre- 
senting the  unattainable,  the  advantages  of  wealth  and  power 
which  deluded  men  and  women  seek  without  value  given  to  the 
world  in  return,  has  just  disappeared  through  the  gateway,  the 
gates  closing  after  him.  On  either  side  processions  of  seekers 
who  have  glimpsed  the  Gilded  One,  strain  toward  the  gateway. 
Some  loiter  in  love  or  play,  some  drop  from  fatigue,  some  fight 
their  way  along;  and  the  first  two,  finding  that  the  pursuit  is 
fruitless  after  all,  have  dropped  to  their  knees  in  anguish. 
The  two  standing  figures  beside  the  gates  are  said  by  the  sculptor 
to  have  no  significance  beyond  the  fact  that  they  are  "just 
guardians." 

The  fountain  is  notable  for  its  symbolism  and  for  the  model- 
ing of  the  many  nude  figures.  The  panel  on  the  right  is  espe- 
cially decorative,  and  has  some  notably  fine  individual  figures 
and  groups.  The  spirit  of  the  fountain,  with  its  realism  and 
its  note  of  hopelessness,  is  not  in  keeping  with  that  pervading 
most  of  the  Exposition  sculpture.  After  looking  at  the  work 
for  a  time,  turn  and  look  back  through  the  two  archways  at 
the  central  figure  of  Youth  at  the  other  side.  Certainly  no 
figure  in  the  Fountain  of  El  Dorado  has  the  appeal  and 
charm   of    that. 

[311 


TOWER  OF  JEWELS 

MURAL  PAINTINGS 

On  the  walls  of  the  archway  under  the  Tower  of  Jewels  are 
eight  paintings  celebrating  the  building  of  the  Canal.  All  are 
by  William  de  Leftwich   Dodge. 

On  the  west  wall  the  first  panel  is  called  Discovery.  It 
portrays  the  discovery  of  the  Pacific  Ocean  by  Balboa. 

The  second  panel  is  called  Atlantic  and  Pacific.  A  huge 
figure  of  Labor,  having  brought  together  the  oceans,  is  opening 
a  waterway  from  West  to  East.  On  the  left  an  ox-drawn 
prairie  schooner  has  arrived  at  the  shore,  with  types  of  Western 
civilization.  On  the  opposite  shore  types  of  the  nations  of 
the  East,  in  a  colorful  group,  are  straining  forward  to  meet 
the  West. 

The  third  panel  is  entitled  The  Purchase.  A  figure  repre- 
senting the  United  States  is  taking  over  the  canal  project  from 
France.  The  French  laborers  are  throwing  down  their  tools, 
and  Americans  press  forward  to  take  them  up. 

In  the  group  on  the  opposite  wall  the  first  panel  is  called 
Labor  Crowned.  Victorious  Labor  is  being  crowned  by  the 
angel  of  Success,  while  soldier  and  workers  come  to  pay  homage. 

The  second  panel  is  entitled  The  Gateway  of  All  Nations. 
Figures  symbolizing  Progress  call  the  world  to  pass  through 
the  Canal.  Neptune  holds  garlands  by  which  he  draws  ships 
of  the  various  nations  toward  the  waterway.  Two  laborers  rest 
on  their  machines  and  watch  the  procession  which  they  have 
made  possible. 

The  last  panel  is  called  Achievement.  A  woman  with  the 
symbols  of  knowledge,  or  wisdom,  sits  enthroned,  while  about 
her  are  grouped  figures  representing  the  forces  instrumental  in 
building  the  Canal.  At  the  left  are  laborers;  at  the  right  figures 
typifying  Engineering,  Medical  Science  (with  the  Caduceus, 
the  wand  of  Mercury,  god  of  medicine),  and  Commerce  or 
Munificence. 

These  mural  paintings  are  among  the  most  interesting  and 
most  imaginative  of  all  those  at  the  Exposition.  Some  of  the 
groups  are  particularly  fine  in  coloring.  Note  the  method  of 
obtaining  the  right  effect  of  * 'flatness*'  by  employing  a  conven- 
tional diaper  pattern  for  the  background  throughout.  The 
panels  here  are  much  more  effective  under  full  illumination  at 
night  than  by  daylight. 

f52  1 


TOWER  OF  JEWELS 

THE  FOUNTAIN  OF  ENERGY 

The  Fountain  of  Energy  in  the  South  Gardens  was  designed 
to  be  the  crowning  feature  of  the  sculpture  of  the  Exposition, 
just  as  the  Tower  of  Jewels  was  designed  to  dominate  the 
architectural  scheme;  and  it  fails  of  its  high  purpose  in  much 
the  same  way.  It  is  closely  allied  with  the  tower  in  symbolic 
meaning,  celebrating  man's  victory  over  the  forces  of  nature  in 
the  successful  building  of  the  canal. 

In  the  pool  at  the  base  of  the  fountain  are  a  number  of  grace- 
ful groups  of  water  sprites  on  dolphins,  and  four  larger  groups 
representing  the  four  great  seas.  The  one  to  the  east  of  the 
main  fountain  represents  The  Atlantic  Ocean  as  a  woman 
with  sea-horses  in  one  hand  and  coral-like  hair,  on  the  back  of  a 
conventionalized  dolphin.  At  the  north  The  North  Sea  is 
represented  by  a  sort  of  sea-man,  with  occasional  fins  and  with 
a  three-pronged  spear  in  hand,  riding  on  a  walrus.  At  the  west 
The  Pacific  Ocean  is  typified  by  a  woman  on  a  remarkable 
sea  monster.  And  on  the  south  a  sea-man  with  negro-like 
features,  and  with  an  octopus  in  one  hand,  rides  on  a  sea- 
elephant,  representing  The  South  Seas. 

The  main  pedestal  of  the  statue  is  a  globe,  representing  the 
earth.  This  is  supported  by  a  series  of  figures  of  mermaids  and 
mermen.  The  Eastern  and  Western  Hemispheres  are  repre- 
sented by  figures  reclining  on  the  globe,  the  one  to  the  east  a 
cat-headed  woman,  the  one  to  the  west  a  bull-headed  man.  The 
band,  decorated  with  aquatic  figures,  which  encircles  the  globe, 
suggests  the  final  completion  of  a  waterway  about  the  earth. 

Energy,  the  Victolr,  the  surmounting  group,  typifies  the 
indomitable  spirit  that  has  achieved  the  building  of  the  Canal. 
The  nude  figure  of  Energy  with  arms  outstretched  rides  a  horse 
through  the  waves,  while  on  his  shoulders  stand  smaller  figures 
of  Valor  (with  a  wreath)  and  Fame  (with  a  sword)  heralding  the 
triumph.  These  small  figures  are  unfortunate — they  hardly 
belong,  and  instinctively  one  is  worried  for  their  equilibrium. 

The  whole  fountain  is  instinct  with  energy,  and  expresses 
joyous  achievement,  as  was  meant.  Moreover  it  is  remarkable 
in  its  breadth  of  conception,  in  imaginative  interpretation  of 
the  theme.  But  it  lacks  that  sense  of  repose  which  would  make 
it  intimately  satisfying. 

The  fountain  was  designed  by  A.  Stirling  Calder. 

[53] 


VARIED  INDUSTRIES  PORTAL 
W.  B.  Faville,  Architect 


PALACES  FACING  THE  AVENUE  OF  PALMS 

The  adoption  of  the  **walled-city'*  plan  for  the  Exposition 
meant  the  grouping  of  the  more  imposing  architectural  effects 
in  the  interior  courts,  the  outer  facades  simply  forming  parts 
of  a  practically  continuous  wall  about  the  whole.  Inspired  by 
Spanish  architecture  of  the  Renaissance,  the  intention  was  to 
keep  the  wall  spaces  in  general  quite  bare,  concentrating  the 
decorative  effects  in  rich  "spots'*  at  carefully  chosen  intervals. 
1  hus  the  outer  facades  of  the  central  group  of  palaces  combine  a 
simple  general  form  with  a  series  of  richly  ornamental  portals. 
The  architect  who  was  entrusted  with  the  designing  of  the  wall 
and  all   the  portals  was  W.   B.   Faville  of  Bliss  and   Faville. 

Certain  architectural  and  sculptural  units  are  repeated 
throughout  the  central  group.  Each  building  has  a  low  central 
dome,  seldom  seen  when  one  is  close  to  any  of  the  main  buildings, 
but  adding  greatly  to  the  decorative  effect  from  a  slight  dis- 
tance. These  domes  are  of  Byzantine  style,  and  are  colored  in 
harmonizing  shades  of  green  and  pink.  The  small  repeated 
corner  domes  add  another  Eastern  touch,  and  are  especially 
effective  at  night.  The  outer  wall  is  edged  all  the  way  around 
with  a  simple  cornice  and  a  few  rows  of  dull  red  tiles,  distinctly 
Southern  in  feeling,  and  therefore  harmonizing  with  both  the 
Spanish  and  the  Italian  Renaissance  doorways. 

The  Winged  Victory  is  the  fine  decorative  figure  that 
crowns  the  gables  of  all  the  palaces  of  the  walled-city.  It  is 
broadly  modelled,  massive  and  yet  refined,  and  from  any  view- 
point stands  out  in  beautiful  silhouette  against  the  sky.  It  is 
by  Louis  Ulrich. 

PALACE  OF  VARIED  INDUSTRIES 

Before  turning  to  the  more  important  south  facade,  it  is  well 
to  look  at  the  east  wall,  with  its  dignified  and  colorful  portal. 
This  is  Roman  in  style  of  architecture,  to  harmonize  with  the 
Palace  of  Machinery  opposite.  It  is  similar  in  general  form 
to  the  memorial  arches  and  gateways  of  the  Romans,  but  in  the 
use  of  architectural  motives  and  in  decoration  it  is  of  Italian 
Renaissance  style.  The  niches  at  each  end  of  the  gallery 
contain  figures  of  The  Miner,  by  Albert  Weinert.    The  facade  is 

[351 


PALACES  ON  AVENUE  OF  PALMS 

ornamented  with  buttresses  at  regular  intervals,  carrying  figures 
of  the  California  Bear  holding  a  scutcheon  with  the  state  seal. 

Returning  to  the  Avenue  of  Palms  and  the  south  facade, 
one  sees  the  most  important  artistic  feature  of  the  building,  the 
central  portaL  This  is  a  copy,  except  for  the  figures  filling  the 
niches,  of  the  famous  doorway  of  the  Hospital  of  Santa  Cruz  at 
Toledo,  Spain.  It  is  in  Spanish  Renaissance  style,  of  that 
especially  rich  type  known  as  **Plateresque,"  due  to  its  likeness 
to  the  work  of  the  silversmiths  of  the  time.  For  its  grace  of 
composition,  its  exquisite  detail,  its  total  effect  of  richness  and 
depth,  this  portal  is  worthy  of  long  study. 

The  sculpture  of  the  portal  is  all  by  Ralph  Stackpole.  In 
the  lower  niches  are  replicas  of  **The  Man  with  a  Pick,"  a  figure 
that  has  been  justly  admired  as  a  sincere  portrayal  of  a  simple 
laboring  type.  The  relief  panel  in  the  tympanum  represents 
various  types  of  industry.  From  left  to  right  the  figures  typify 
Spinning,  Building,  and  Agriculture  (or  the  clothing,  sheltering 
and  feeding  of  mankind),  and  Manual  Labor,  and  Commerce. 
The  group  in  the  niche  above  the  arch  shows  a  young  laborer 
taking  the  load  from  the  shoulders  of  an  old  man.  The  single 
figure  at  the  top  of  the  arch  shows  the  laborer  thinking,  and  is 
called  * 'Power."  Note  how  all  these  sculptures,  while  having 
individual  interest,  fit  unobtrusively  into  the  lace-like  portal. 

PALACE  OF  MANUFACTURES 

The  wall  of  this  building  is  broken  by  pilasters  and  inset 
decorative  panels,  and  by  a  series  of  niches  with  animal  head 
fountains.  The  central  portal  is  pure  Renaissance  archi- 
tecture,  again   suggestive  of   the   Roman   gateway   in   form. 

The  sculptures  of  the  doorway,  including  the  two  figures  of 
male  and  female  labor  in  the  niches,  and  the  long  high-relief 
panel,  are  by  Mahonri  Young,  who  is  noted  for  his  simple, 
powerful  treatment  of  modern  themes.  The  panel  represents 
various  branches  of  manufacture,  including  metal  work,  black- 
smithing,  pottery -making,  spinning,  and  architectural  sculpture 

• 

PALACE  OF  LIBERAL  ARTS 

The  facade  here  exactly  duplicates  that  just  described,  even 
to  the  niche  figures  and  panel  in  the  portal. 

[561 


PALACES  ON  AVENUE  OF  PALMS 

PALACE  OF  EDUCATION 

The  Palace  of  Education  has  three  Renaissance  portals 
on  the  south  facade.  These  are  more  Spanish  in  feeling  than 
those  of  the  two  palaces  just  passed.  The  tympanum  panel  of 
the  central  doorway  may  be  taken  to  represent  kindergarten 
teaching,  instruction  of  boys  and  girls,  and  self-education  in 
young  manhood.  It  is  by  Gustave  Gerlach.  The  two  panels 
in  the  walls  over  the  minor  doorways  treat  very  obviously  of 
educational  subjects.  They  are  flat  in  more  senses  than  one, 
lacking  the  life  of  the  central-tympanum  group.  They  are  by 
students  of  two  American  art  schools. 

The  west  facade  of  the  Palace  of  Education  is  dominated 
by  an  immense  half-dome,  impressive  in  size  and  attractively 
decorated.  The  style  of  architecture  here  is  mainly  Roman,  to 
harmonize  with  the  Fine  Arts  Palace  which  it  faces  across  the 
lagoon.  There  are  two  splendid  architectural  fountains,  under 
the  half-dome  here  and  under  that  of  the  Palace  of  Food 
Products. 

Sculpture.  Flanking  the  great  arch  are  columns  carrying 
the  nude  figure  of  a  man,  with  hands  crossed,  gazing  fixedly  in 
thought.  In  the  official  list  this  is  called  ** Philosophy'*  or 
* 'Thought,'*  and  from  it  the  immense  portal  is  called  **The 
Half-dome  of  Philosophy."  But  the  same  figure  occupies  the 
corresponding  position  before  the  Food  Products  Palace,  and  is 
there  called  ** Physical  Vigor."  The  truth  is  that  the  artist 
designed  the  statue  to  suggest  that  finest  of  all  unions  of 
strength,  the  physically  powerful  man  thinking.  Thus  the 
figure  is  appropriate  to  both  a  food  products  building  and  an 
education  building.  The  figure,is  strong,  but  is  not  so  convmc- 
ing  or  appealing  as  the  same  artist's  **Man  with  a  Pick,"  in 
the  Varied  Industries  portal.  Within  the  half -dome  is  a  repeated 
figure  with  a  scroll  inscribed  **Libris,**  by  Albert  Weinert. 

The  six  niches  in  the  west  wall  have  two  repeated  statues  by 
Charles  R.  Harley,  known  as  **The  Triumph  of  the  Field*'  and 
** Abundance.**  They  are  simply  repeated  from  the  Food  Prod- 
ucts Palace  to  the  north,  where  they  properly  belong,  and  will 
be  treated  in  the  next  chapter  in  connection  with  that  building. 

On  the  north  facade  of  the  Palace  of  Education  are  dupli- 
cates of  the  three  south  portals,  with  the  same  sculptured 
panels. 

1571 


THE  COLUMN  OF  PROGRESS  AT  NIGHT 


PALACES  FACING  THE  MARINA,  AND 
THE  COLUMN  OF  PROGRESS 

The  walled-city  idea,  which  throws  most  of  the  fine  archi- 
tecture into  interior  courts,  is  even  more  severely  carried  out 
in  the  north  facades  than  in  the  south.  The  palaces  on  the 
Marina,  indeed,  present  a  wall  unbroken  except  by  the  central 
doorways  and  the  slight  corner  projections.  The  small  domes 
at  the  corners  give  a  Moorish  touch,  reminiscent  of  Southern 
Spain,  and  the  portals  are  direct  adaptations  from  Spanish 
masterpieces. 

PALACE  OF  MINES 

The  north  facade  of  the  Palace  of  Mines  is  free  from  all 
ornament  except  the  richly  decorative  central  portal.  This 
is  worthy  of  prolonged  study,  being  one  of  the  finest  bits  of  archi- 
tectural ornament  at  the  Exposition.  It  is  designed  very  closely 
after  Spanish  models,  and  is  of  that  transitional  period  of 
Spanish  architecture  that  came  between  the  Gothic  and  the 
Renaissance,  when  Gothic  had  been  enriched  through  the 
influence  of  Moorish  art,  and  was  just  beginning  to  feel  the 
impulse  of  the  Italian  Renaissance.  Note  how  rich  is  every 
part  of  the  detail;  then  note  how  all  detail  is  subordinated  to 
the  mass  effect  of  the  whole. 

The  statues  in  the  niches  of  the  portal  are  by  Allen  Newman. 
The  central  mantled  figure  is  called  the  **Conquistador,'*  or 
conqueror.  The  artist  has  here  portrayed  in  spirited  fashion  a 
fine  type  of  Spanish  nobility.  The  figure  in  the  side  niches, 
with  an  old-style  pistol  in  his  belt  and  a  rope  in  his  hand,  is 
"The  Pirate.** 

The  east  facade  of  the  Palace  of  Mines  duplicates  that  of 
the  Varied  Industries  Palace,  and  the  west  facade  forms  one 
side  of  the  north  Court  of  Abundance. 

PALACE  OF  TRANSPORTATION 

Here  the  one  notably  artistic  feature  is  the  central  portal 
on  the  north  side,  which  is  an  exact  replica  of  the  Spanish 
doorway  of  the  Palace  of  Mines. 

[591 


PALACES  ON  THE  MARINA 

THE  COLUMN  OF  PROGRESS 

This  monument  symbolizes  the  energy,  the  unconquerable 
spirit  that  is  forever  pressing  forward  to  overcome  new  obstacles, 
which  has  led  to  the  building  of  the  Canal.  The  idea  of  such  a 
monument  was  conceived  by  A.  Stirling  Calder,  the  architec- 
tural design  is  from  the  hand  of  W.  Symmes  Richardson,  the 
reliefs  at  the  base  are  by  Isidore  Konti,  and  the  crowning  statue 
is  by  Hermon  A.  MacNeil.  The  Column  of  Progress  as  a  whole 
is  among  the  finest  artistic  achievements  of  the  Exposition,  and 
more  than  any  other,  perhaps,  is  worthy  of  perpetuation  in  per- 
manent materials  to  commemorate  for  all  time  the  opening  of 
the  Panama  Canal  and  the  holding  of  the  Exposition. 

Reliefs  at  base.  The  high  relief  frieze  on  the  square  base 
of  the  column  represents  mankind  heeding  the  call  to  achieve- 
ment. On  the  south  face  are  allegoric  figures  calling  mankind 
to  the  struggle,  the  two  women  holding  palm  branches, 
the  insignia  of  victory.  On  the  other  three  faces  are  shown 
groups  of  figures  striving  forward  at  the  call,  pressing  on  to 
achievement,  some  joyously,  some  laboriously,  some  stopped 
altogether  in  thought.  The  whole  frieze  suggests  the  beginning 
of  progress. 

In  the  spiral  that  winds  about  the  column  certain  inter- 
preters have  found  a  symbol  of  the  upward  march  of  human 
achievement;  but  as  this  spiral  decoration  is  found  on  the 
Column  of  Trajan  and  the  Column  of  Marcus  Aurelius,  the 
Roman  prototypes  of  the  Column  of  Progress,  there  probably  is 
no  special  significance  in  its  use  here. 

Supporting  the  crowning  group  is  a  drum  with  crouching 
figures  of  toilers  in  relief,  entitled  "The  Burden  Bearers." 

The  Adventurous  Bowman  is  the  title  of  the  surmount- 
ing statue.  The  heroic  Bowman,  facing  the  skies  and  the  seas, 
and  launching  his  arrow  into  the  unknown,  is  the  symbol  of 
the  impulse  that  leads  men  to  dare  all  to  achieve  victory.  At 
the  left  of  the  central  figure  is  a  man  of  smaller  stature,  leaning 
against  the  Bowman  to  give  him  support.  On  the  other  side 
a  woman  crouches,  looking  up  as  the  arrow  speeds  on  its  way. 
The  ring-like  object  in  the  woman's  hand,  which  is  so  hard  to 
identify  when  one  views  the  group  from  the  ground,  is  a  wreath. 

There  is  about  the  Bowman  a  remarkable  sense  of  move- 
ment, of  energy,  of  pressing  forward,  no  matter  what  the  view- 

1601 


PALACES  ON  THE  MARINA 

point  of  the  spectator.  The  monument  should  be  seen  from 
as  far  north  as  possible,  near  the  corner  of  the  California 
building,  perhaps.  From  here,  from  the  Esplanade  as  one  ap- 
proaches from  either  east  or  west,  and  from  the  Court  of  the 
Universe  at  the  rear,  the  group  has  the  same  inspirational 
quality,  the  same  sense  of  joyous  effort,  of  courageous  striving 
toward  achievement.  The  placing  of  the  monument  where  it 
closes  three  important  vistas  is  commended  for  study  to  those 
who  have  in  charge  the  artistic  destinies  of  our  cities. 

PALACE  OF  AGRICULTURE 

The  north  facade  of  the  Palace  of  Agriculture  is  bare  except 
for  the  central  portal,  which  again  duplicates  that  of  the 
Palace  of  Mines. 

PALACE  OF  FOOD  PRODUCTS 

The  north  facade  of  this  palace  duplicates  that  of  the 
Palace  of  Agriculture.  But  when  one  turns  the  west  corner 
into  Administration  Avenue,  one  finds  an  entirely  different 
atmosphere,  where  the  Spanish  architecture  has  given  way  to 
Italian.  The  dominating  feature  of  the  building's  west  facade 
is  an  immense  half-dome,  officially  called  **The  Half-dome  of 
Physical  Vigor.**  This  is  an  exact  replica  of  the  **Half-dome 
of  Philosophy**  on  the  Education  Palace. 

Sculpture.  Before  the  half -dome  here,  on  columns,  are 
replicas  of  Ralph  Stackpole*s  statue  of  the  physically  vigorous 
man  in  thought.  Inside  the  half-dome  is  a  repeated  figure  of 
a  man  with  a  wreath,  by  Earl  Cummings. 

In  the  niches  along  the  walls  are  two  alternating  com- 
positions, * 'Abundance**  and  **The  Triumph  of  the  Field,**  by 
Charles  R.  Harley.  Abundance  is  typified  by  a  seated  woman, 
with  the  conventional  overflowing  cornucopias  beside  her,  as 
well  as  a  conglomeration  of  details  suggestive  of  the  riches  of 
land  and  sea.  This  group  certainly  belongs  to  the  Food  Pro- 
ducts building,  but  it  really  ought  to  be  inside,  with  the  flowers 
made  of  butter  and  the  tower  of  raisins.  The  Triumph  of 
the  Field  shows  a  man  seated,  and  around  him  a  museum  of 
ancient  symbols  of  agriculture,  and  of  agricultural  triumph, 
such  as  were  once  carried  in  the  annual  harvest  festivals.  These 
two  groups  are  among  the  most  amusing  things  at  the  Exposi- 
tion; but  artistically  they  can  hardly  be  said  to  count  at  all. 

[61  I 


THE  PALACE  OF  MACHINERY 

The  Palace  of  Machinery,  largest  of  all  the  structures  at 
the  Exposition,  terminates  the  main  building  axis  at  the  East. 
It  is  monumental  in  proportions,  and  is  well  suited  to  its  pur- 
pose of  housing  an  immense  display  of  machines. 

ARCHITECTURE 

The  architecture  was  evidently  inspired  by  the  great  baths 
of  ancient  Rome,  which  were  similar  in  style,  size,  and  detail. 
The  scale  is  so  great — this  is  said  to  be  the  largest  wooden  build- 
ing in  the  world — that  it  is  something  of  an  achievement  to 
have  made  the  structure  anything  but  barn-like.  By  the  rich- 
ness of  the  cornices  and  the  careful  spacing  of  the  openings  the 
architect  has  made  it  ornamental,  and  has  given  it  a  sort  of 
noble  dignity — though  one  hesitates  to  Qompare  it  with  the 
palaces  of  the  central  group. 

The  most  interesting  architectural  bit  in  connection  with 
the  Palace  of  Machinery  is  the  entrance  vestibule  under  the 
three  central  archways.  Standing  at  either  end  of  the  portico 
one  obtains  a  remarkable  impression  of  spaciousness  combined 
with  decorative  completeness.  The  coloring  within  the  high 
vestibule  is  particularly  pleasing. 

Within  the  building  the  unconcealed  trussing,  instead  of 
giving  a  sense  of  barrenness  and  lack  of  finish,  resolves  itself 
into  a  sort  of  lace-like  decorative  scheme,  the  whole  effect 
being  peculiarly  ornamental. 

The  Palace  of  Machinery  was  designed  by  Clarence  R. 
Ward. 

SCULPTURE 

The  sculpture  here  consists  of  the  series  of  four  nude  male 
figures  on  the  column  drums,  and  spandrels  for  the  main  and 
minor  doorways,  and  a  widely  different  group,  **The  Genius 
of  Creation,"  before  the  main  western  portal.  All  but  the 
latter  group  represent  **Types  of  Power." 

The  figures  surnnounting  columns,  flanking  the  three 
arches  of  the  central  doorway,  represent  **Steam  Power,"  "In- 
vention," "Electricity,"  and  "Imagination.* 

[62] 


PALACE  OF  MACHINERY 

Steam  is  symbolized  as  a  man  holding  a  long  lever. 

Invention  is  represented  as  a  man  holding  forth  a  miniature 
winged  figure  at  which  he  gazes  steadily. 

The  figure  of  Electricity  holds  jagged  lightning,  conven- 
tional symbol  of  electricity. 

Imagination,  primal  power  back  of  all  machinery  design, 
is  represented  by  a  figure  with  arm  thrown  back  of  head,  and 
seemingly  with  eyes  closed. 

Considered  simply  as  portrayals  of  power,  these  four  virile 
figures  are  very  successful,  and  they  serve  well  to  carry  out 
the  sense  of  immensity  and  strength  that  characterizes  the 
entire  building.  But  they  are  not  at  all  polished  or  subtle, 
lacking  the  refinement  that  would  make  them  interesting  as 
something  besides  vigorous  types.  All  four  figures  are  by 
Haig  Patigian.  They  are  repeated  in  different  order  on  columns 
before  the  north  and  south  portals  of  the  building. 

The  bas-relief  friezes  about  the  bases  of  the  vestibule 
columns  are  also  by  Haig  Patigian.  The  winged  figure,  typi- 
fying ** Machinery,*'  lends  itself  to  decorative  uses  better  than 
the  purely  human  type,  and  the  artist  has  worked  in  various 
mechanical  symbols  quite  cleverly.  The  cardinal  principle  in 
sculptural  decoration  of  this  sort  is  that  the  frieze,  like  the 
whole  column,  must  carry  an  impression  of  support.  It  will 
be  noticed  that  no  room  has  been  left  above  the  head  or  below 
the  feet;  and  the  disposition  of  the  wings  and  arms  further  adds 
to  the  feeling  that  the  figures  are  a  true  structural  unit  rather 
than  mere  ornament  stuck  on. 

The  spandrels  over  the  minor  arches  in  the  vestibule, 
again  typifying  "Machinery,**  are  equally  successful  in  serving 
an  architectural  purpose.  Mural  sculpture,  like  mural  paint- 
ing, must  never  be  allowed  to  "make  a  hole'*  in  the  wall.  Notice 
how  fully  the  figures  cover  the  given  space,  without  any  back- 
ground to  draw  the  eye  beyond  the  surface.  These  spandrels 
are  also  by  Haig  Patigian.  The  column  reliefs  and  the  spand- 
rels are  repeated  at  the  minor  doorways  of  the  building. 

The  Genius  of  Creation,  a  magnificently  conceived  group 
of  sculpture,  has  been  placed,  rather  unfortunately,  in  front  of 
the  main  west  portal  of  the  Palace  of  Machinery.  It  is  by 
Daniel  Chester  French,  who  is  generally  considered  the  dean 
of  American  sculptors.     The  Genius  of  Creation  is  portrayed 

[63] 


THE  GENIUS  OF  CREATION 
Daniel  Chester  French,  Sculptor 


PALACE  OF  MACHINERY 

as  a  huge  winged  figure,  enthroned  over  the  formless  mass  of 
earth,  with  head  bowed  and  arms  outstretched,  caUing  human 
hfe  into  being.  At  the  two  sides  a  man  and  a  woman,  fine 
strong  figures  both,  stand  looking  forth,  the  man  courageously, 
the  woman  a  little  more  timidly.  And  at  the  back,  as  if  to  sig- 
nify the  mutual  dependence  of  man  and  woman,  the  hands 
seek  to  touch.  A  serpent  encircles  the  base  of  the  group, 
symbolizing  wisdom — or  as  some  prefer  to  interpret  it,  ever- 
lasting life.  This  serpent  is  probably  not  the  one  that  had 
so  much  to  do  with  the  life  of  the  first  couple  on  earth. 

The  statue  expresses,  of  course,  the  orthodox  idea  of  crea- 
tion, and  it  is  interesting  to  contrast  it  with  the  sculpture  of 
the  Court  of  Abundance,  which  in  general  gives  expression  to 
the  doctrine  of  evolution.  The  strong,  almost  severe,  motherly 
figure  is  finely  religious  in  feeling.  The  sculptor  himself  has 
commented  on  the  religious  tone  that  runs  through  much  of 
the  Exposition  sculpture,  remarking  especially  the  prevalence 
of  winged  angel-figures.  The  reader  is  left  to  decide  how  far 
this  has  resulted  from  the  fact  that  the  winged  form  is  essen- 
tially decorative,  and  how  far  from  reverence. 

Viewed  entirely  from  the  aesthetic  side,  without  regard  to 
the  symbolism,  the  Genius  of  Creation  is  one  of  the  most 
satisfying  works  on  the  grounds.  It  is  too  bad  that  it  was 
placed  before  a  background  of  broken  spaces,  and  before  a 
colorful  facade  that  makes  it  seem  pale.  But  in  it  is  that  re- 
poseful strength  which  characterizes  so  much  of  French's 
work — a  sense  of  completeness,  of  fullness,  that  is  perhaps  the 
most  soul-satisfying  quality  of  great  sculpture. 


[65] 


THE  SOUTH  GARDENS,  FESTIVAL  HALL, 
AND  THE  PALACE  OF  HORTICULTURE 

If  there  is  one  portion  of  the  Exposition  building  scheme 
that  does  not  seem  to  "belong"  to  the  main  group  of  palaces, 
it  is  that  which  lies  south  of  the  Avenue  of  Palms,  including 
the  South  Gardens,  Festival  Hall,  and  the  Palace  of  Horti- 
culture. The  relation  of  the  two  buildings  to  the  main  courts 
and  palaces  is  clear:  Festival  Hall  terminating  the  cross  axis 
through  the  Court  of  Abundance  and  the  Court  of  Flowers; 
the  Palace  of  Horticulture  terminating  the  cross  axis  through 
the  Court  of  the  Four  Seasons  and  the  Court  of  Palms.  But 
though  the  organic  relationship  is  apparent,  the  least  discrim- 
inating of  critics  can  see  that  these  buildings  are  of  an  archi- 
tectural style  not  in  harmony  with  the  central  group  of  palaces. 
Both  structures  lack  that  fine  sense  of  proportion  and  that 
simple  and  impressive  dignity  which  characterize  the  archi- 
tecture of  the  courts;  and  both  are  more  or  less  pretentious 
and  ornate. 

THE  SOUTH  GARDENS 

The  South  Gardens,  like  the  buildings,  have  a  certain 
magnificence  but  at  the  same  time  lack  any  distinctive  appeal. 
The  three  basins  with  their  fountains  are  imposing,  and  the 
individual  beds  of  flowers  are  gorgeous  in  their  profuse  massing 
of  color;  but  the  distances  are  so  great,  and  the  sense  of  enclo- 
sure that  means  so  much  to  gardens  is  so  far  lacking,  that  the 
lover  of  formal  gardening  will  be  less  satisfied  here  than  at 
several  other  places  in  the  grounds. 

Sculpture.  The  sculpture  of  the  South  Gardens  is  all  on 
the  three  fountains.  The  immense  central  group,  the  Foun- 
tain of  Energy,  already  has  been  described.  In  the  other  two 
basins  the  Mermaid  Fountain  is  repeated.  This  is  an  attrac- 
tively ornate  bit  of  decorative  design,  surmounted  by  the 
figure  of  a  mermaid  with  a  dolphin.  The  figure  was  modeled 
from  designs  by  Arthur  Putnam.  It  is  typical  of  the  fine 
strength  of  his  work,  and  at  the  same  time  appealing  by  the 
grace  of  its  sinuous  lines. 

[66] 


THE  SOUTH  GARDENS 

FESTIVAL  HALL 

Festival  Hall,  designed  for  the  many  conventions  and 
musical  festivals  of  the  Exposition  period,  is  of  typically 
French  architecture  of  the  modern  school.  The  building  is 
not  unpleasing,  but  there  is  little  about  it  to  hold  the  interest. 
Robert  Farquhar  was  the  architect. 

Sculpture.  All  the  sculpture  on  Festival  Hall  is  the  work 
of  Sherry  E.  Fry.  The  figures  are  well  suited  to  their  purpose, 
from  the  slender  **Torch-Bearer,"  surmounting  the  minor 
domes,  to  the  heavy  reclining  figures  on  the  pylons  at  the 
main  entrance.  Most  of  the  statues  are  too  roughly  finished 
to  have  more  than  a  decorative  interest,  but  the  two  groups 
flanking  the  main  stairway  are  worthy  of  study.  These  two 
** Flower  Girls,"  one  on  either  side,  have  a  beautiful  flowing 
grace.  But  quite  the  most  appealing  things  here  are  the  two 
minor  figures  before  the  pedestals  on  which  the  Flower  Girls 
stand.  Before  the  one  at  the  north  is  a  captivating  boy  Pan 
with  a  lizard.  Half  hidden  in  the  shrubbery  at  the  other  side 
is  the  sitting  figure  of  a  girl,  attractively  immature  and  charm- 

mg  m  Ime.      p^^LACE  OF  HORTICULTURE 

The  Palace  of  Horticulture  is  characterized  by  that  com- 
bination of  Eastern  and  Western  architectural  motives  which 
is  so  noticeable  throughout  the  buildings.  The  dome  is  Byzan- 
tine, while  the  rest  of  the  building  is  of  Renaissance,  or  modern, 
French  architecture.  The  dome  considered  alone  is  an  almost 
perfect  bit  of  design,  beautifully  proportioned  and  finely  simple. 
The  rest  of  the  building  is  in  general  over-decorated,  the  portals 
especially  being  heavily  loaded  down  with  meaningless  orna- 
ment. Apologists  for  the  building  say  that  the  profuse  ornate- 
ness  rightly  suggests  the  richness  of  California's  horticulture. 
Perhaps  the  best  view  of  the  dome  is  from  the  east  end  of  the 
Avenue  of  the  Nations,  near  the  Denmark  building,  because 
from  there  one  can  see  it  unobstructed,  escaping  the  disturb- 
ing effect  of  the  portals  and  their  spires.  The  Palace  of  Horti- 
culture was  designed  by  Bakewell  and  Brown  of  San  Francisco. 

Sculpture.  All  of  the  sculpture  here  is  purely  decorative. 
The  frieze  at  the  base  of  each  spire,  consisting  of  heavy  female 
figures  modeled  in  pairs,  is  by  E.  L.  Boutier.  The  ornamental 
Caryatides  of  the  porches  are  by  John  Bateman. 

(67  1 


THE  PALACE  OF  FINE  ARTS 
Bernard  R.  Maybeck,  Architect 


PALACE  OF  FINE  ARTS 

The  Fine  Arts  Palace  has  been  more  admired,  probably, 
than  any  other  architectural  unit  at  the  Exposition.  The 
reasons  are  not  far  to  seek.  The  architect  has  used  those  classic 
forms  which  for  ages  have  been  recognized  as  best  suited  to 
monumental  structures,  and  yet  he  has  used  them  with  origi- 
nality. The  building  is  classically  noble,  but  without  classic 
austerity  or  coldness.  It  is  at  once  beautiful  in  form,  rich  in 
decorative  detail,  and  satisfyingly  warm  in  color.  Moreover, 
it  has  the  finest  setting  of  all  the  Exposition  buildings.  The 
bigness  of  conception,  the  boldness  with  which  the  largest 
architectural  elements  have  been  handled,  the  perfect  arrange- 
ment of  architecture,  planting,  and  reflecting  waters — all  these 
combine  to  create  the  most  compelling  picture  on  the  grounds. 

The  arrangement  of  the  building  is  deceptive.  As  one 
looks  at  it  across  the  lagoon,  it  seems  like  a  single  unit,  so 
well  does  the  planting  tie  it  together,  though  there  are  really 
four  unconnected  structures:  the  rotunda,  two  detached  peri- 
styles at  the  sides,  and  the  art  gallery  proper  at  the  back. 

ARCHITECTURE 

The  style  of  architecture  is  Classic,  freely  treated.  The 
rotunda  is  Roman.  The  peristyle  is  more  Greek  in  feeling, 
in  the  simplicity  of  general  form,  with  splendidly  modeled 
capitals,  full  strong  columns,  and  dignified  cornice.  The 
curved  facade  of  the  main  building,  facing  the  rotunda  and 
peristyle,  is  very  original  in  its  arrangement  of  classic  archi- 
tectural motives  and  masses  of  foliage,  with  a  Pompeian  per- 
gola on  top. 

The  color  scheme  of  the  whole  building  is  worthy  of  study. 
And  although  the  structure  when  seen  by  day  deserves  all  the 
praise  that  has  been  bestowed  upon  it,  by  night  its  beauty  is 
beyond  description.  One  should  sit  long  at  the  edge  of  the 
lagoon  opposite  the  rotunda,  and  watch  the  illuminated  build- 
ing itself  and  its  reflection  in  the  waters  below,  to  feel  the  full 
spell  of  it.  No  one  should  miss,  either,  the  walk  between  the 
peristyle  and  the  main  building  on  one  of  those  nights  when 

[691 


PALACE  OF  FINE  ARTS 

there  is  soft  local  illumination,  for  nowhere  else  on  the  grounds 
has  the  poetry  of  lighting  been  so  perfectly  realized. 

The  architect  of  the  Fine  Arts  Palace  was  Bernard  R. 
Maybeck,  a  Californian. 

SCULPTURE 

The  sculpture  about  the  lagoon,  including  that  under  the 
peristyle  and  rotunda,  is  to  be  treated  in  the  next  chapter, 
except  that  which  is  definitely  a  part  of  the  building's  integral 
decorative  scheme. 

The  reliefs  outside  the  rotunda,  on  the  attic  above  the 
cornice,  represent  man's  effort  to  gain  the  ideal  of  art.  To 
see  these  reliefs  best,  one  should  stand  directly  across  the 
lagoon  from  the  rotunda.  In  the  panel  facing  East  one 
sees  the  figure  of  Art  personified.  On  either  side  is  a  group 
showing  the  champions  of  art  combating  centaurs,  that  stand 
for  the  commonplace,  materialistic  things  of  life.  In  the. next 
panel  to  the  left,  facing  Southeast,  is  represented  the  bridling 
of  the  winged  horse  Pegasus,  which  to  the  G reeks ^^^ymbolized 
the  attainment  of  poetic  inspiration.  Here  also  are  figures 
representing  the  arts  of  literature,  sculpture  and  music,  by 
the  familiar  symbols,  a  lamp,  a  statuette  and  a  lute.  The 
panel  to  the  right  of  the  center  one  shows  Apollo,  sun-god 
and  patron-god  of  the  arts,  drawn  in  his  chariot,  with  a  pro- 
cession of  devotees.  These  panels  are  repeated  on  the  other 
five  faces  about  the  dome.  They  are  among  the  finest  reliefs 
on  the  Exposition  buildings,   and  are  by  Bruno  Louis  Zimm. 

The  figures  within  the  rotunda,  surmounting  the  eight 
columns  are  **Priestesses  of  Culture,"  by  Herbert  Adams. 

The  flower-box  sculptures  are  by  Ulric  H.  Ellerhusen — 
both  those  on  the  ground  and  those  at  the  corners  of  the  boxes 
surmounting  the  peristyle.  The  ladies  on  the  latter,  looking  / 
so  steadily  into  the  boxes,  do  not  represent  "Curiosity."  The 
plan  was  to  have  masses  of  foliage  overflowing,  and  half- 
covering  the  figures;  and  when  this  was  given  up,  the  decora- 
tive women  gave  the  unexpected  impression  of  being  deeply 
absorbed  in  something  happening  out  of  sight  of  the  spectator 
below.  An  explanation  which  has  gained  some  currency  is 
that  the  figures  represent  "Introspection,"  which  seems  quite 
apropos.  ^ I 

[  70  ] 


PALACE  OF  FINE  ARTS 

The  kneeling  figure  (unnamed)  on  the  edge  of  the  lagoon 
before  the  rotunda  is  by  Ralph  Stackpole.  It  is  one  of  the 
most  appealing  bits  of  all  the  Exposition  sculpture,  well  ex- 
pressing devotion  and  reverence.  It  cannot  be  reached  from 
the  rotunda  side,  this  portion  of  the  shore  being  closed  to 
the  public. 

The  figure  over  the  doorway  of  the  gallery  is  Leo  Len- 
telli's  * 'Aspiration."  During  the  early  months  of  the  Exposi- 
tion this  statue  was  suspended  from  behind,  the  base  on  which 
it  now  stands  having  been  placed  late  in  the  Spring.  As  the 
figure  first  appeared,  hanging  in  air,  it  caused  more  comment 
than  any  other  sculpture  on  the  grounds.  The  most  appro- 
priate explanation  was  that  since  the  figure  lacked  any  visible 
means  of  support  it  probably  was  meant  to  represent  "Cali- 
fornia Art.**  Even  the  recent  alterations  have  failed  to  save 
it  from  seeming  graceless  and  out  of  place. 

MURAL  PAINTINGS 

The  eight  panels  in  the  dome  of  the  rotunda  are  by  Robert 
Reid.  There  are  two  series  of  four  paintings  each,  called 
**The  Birth  and  Influence  of  Art,**  and  **The  Four  Golds  of 
California.**  They  form  perhaps  the  least  interesting  of  the 
several  groups  of  murals,  being  vague  in  meaning,  unpleas- 
antly restless  in  composition,  and  only  occasionally  attractive 
in  coloring. 

The  easiest  panel  to  identify  is  that  called  "The  Birth  of 
Oriental  Art,**  which  is  on  the  west  wall,  closest  to  the  door- 
way of  the  main  building.  Starting  with  this  and  following 
around  the  dome  to  the  right,   the  pictures  are  in  this  order: 

1.  The  Birth  of  Oriental  Art.  A  man  in  armor  on  a 
fanciful  dragon  is  attacking  an  eagle,  symbolizing  man*s  effort 
to  attain  the  inspiration  of  the  heavens.  Below,  China  can 
be  recognized  in  the  man  with  a  brilliant  colored  robe,  and 
Japan  in  the  woman  with  the  bright  parasol. 

2.  Gold  is  symbolized  by  a  woman  with  a  wand,  on  a 
cornucopia  overflowing  with  gold. 

3.  The  Ideals  of  All  Art.  The  ideals  which  animate 
artists  are  shown:  Truth  with  her  glass;  Religion  typified  in 
the  Madonna  and  child;  Beauty,  with  the  peacock;  and  the 
Militant    Ideal    with    a    flag.     Above   and    below    are    figures 

[71  1 


PALACE  OF  FINE  ARTS 

carrying  the  wreath  and  the  palm,  the  artist's  tokens  of  success 
in  attaining  the  ideal. 

4.  Poppies,  the  second  **gold**  of  California. 

5.  The  Birth  of  European  Art.  Four  figures  surround 
an  altar  on  which  burns  the  sacred  fire,  three  being  merely 
attendants  preserving  the  flame,  and  the  fourth  the  guardian 
holding  high  a  torch  lit  at  the  altar.  A  man  from  earth  grasps 
this  torch  as  he  leans  from  his  flying  chariot.  A  woman  in 
the  lower  corner  holds  a  crystal  gazing-globe,  wherein  the  future 
of  art  has  been  revealed,  and  she  turns  to  gaze  after  the  man 
who  is  carrying  the  sacred  fire  to  earth. 

6.  Citrus  Fruits,  the  third  **gold"  of  California. 

7.  The  Inspiration  of  All  Art.  Two  Angels  of  Inspira- 
tion are  at  the  top,  while  below  to  the  left  are  Sculpture,  with 
a  winged  statuette,  and  Architecture,  with  the  scroll  and  com- 
pass; and  to  the  right.  Painting,  with  brush  and  palette,  Music, 
with  a  lyre,  and  Poetry,  with  a  book. 

8.  Wheat,  the  fourth  "gold"  of  California. 


THE  OUTDOOR  GALLERY  OF  SCULPTURE 

Many  of  the  finest  bronzes  and  marbles  of  the  sculpture 
section  are  given  an  adequate  setting  which  would  be  impos- 
sible within  the  gallery  building,  by  being  placed  in  the  open, 
along  the  two  ends  of  the  lagoon,  through  the  peristyles,  and 
under  the  Fine  Arts  rotunda. 

As  this  group  of  sculpture  embraces  all  types  from  the 
playful  to  the  very  serious,  it  is  foolish  to  try  to  appreciate 
the  whole  series  at  one  time.  Perhaps  the  best  way  is  to  start 
first  to  familiarize  oneself  with  the  smaller  bronzes  of  the 
purely  lyric  type,  the  charming  garden  figures,  sun-dials,  and 
miniature  fountains,  that  make  up  such  an  attractive  part 
of  the  collection.  Note  how  often  the  names  of  Edward  Berge, 
Janet  Scudder  and  Anna  Coleman  Ladd  recur  in  connection 
with  this  graceful,  intimately  appealing  sort  of  sculpture.  On 
another  day,  when  life  seems  soberer,  spend  all  your  time  in 
study  of  the  more  serious  works,  such  as  Saint  Gaudens' 
"Seated   Lincoln,"    and   McKenzie's   'The  Young   Franklin," 

[72  1 


OUTDOOR  GALLERY  OF  SCULPTURE 

noting  how  the  dignity,  sureness  of  touch,  and  sound  purpose 
of  these  make  them  more  appeaUng  with  longer  acquaintance. 
On  another  day  take  the  intermediate  group,  that  is  dignified 
but  less  austere  in  theme — such  works  as  Sherry  Fry's  * 'Peace,** 
and  Berge's  **Muse  Finding  the  Head  of  Orpheus.**  Studied 
systematically,  there  is  in  this  series  of  statues  a  broad  educa- 
tion in  the  appreciation  of  sculpture. 

For  convenience  in  reference  the  whole  series  is  listed  here. 
In  regard  to  those  works  which  the  labels  make  self-explana- 
tory, no  comment  is  added,  unless  to  call  attention  to  some 
special  quality  which  the  unpracticed  eye  might  miss.  Where 
the  symbolism  or  **story**  is  obscure,  an  explanation  is  given. 

South  of  the  lagoon  are:  1 .  Sea  Lions  by  Frederick  G.  R. 
Roth.  2.  The  Scout  by  Cyrus  E.  Dallin.  Note  the  remark- 
able clean-cut  quality  of  this  equestrian  statue.  3.  Wind  and 
Spray  fountain,  by  Anna  Coleman  Ladd.  4.  Diana  by  Haig 
Patigian — a  graceful  statue  of  the  Greek  goddess  of  the  hunt, 
which  is  in  marked  contrast  to  the  same  artist*s  strong  figures 
on  the  Palace  of  Machinery.  5.  Peace  by  Sherry  E.  Fry. 
This  beautifully  modeled  figure  has  a  classic  simplicity  that  is 
worthy  of  study.  6.  American  Bison  by  A.  P.  Proctor. 
Beyond  the  second  Bison,  beside  the  roadway  that  runs 
behind  the  Fine  Arts  Palace,  is  a  model  of  the  Kirkpatrick 
Monument,  at  Syracuse,  New  York,  by  Gail  Sherman  Cor- 
bett.  The  central  figures  represent  an  Indian  discovering  to 
a  Jesuit  priest  the  waters  of  an  historic  salt  spring  at  Syracuse. 

In  the  circle  at  the  south  end  of  the  peristyle  are:  1. 
Seated  Lincoln  by  Augustus  St.  Gaudens — generally  consid- 
ered one  of  the  noblest  works  of  the  greatest  American  sculptor. 
Note  especially  the  dignity  of  the  whole,  and  the  sympathetic 
modeling  of  the  face.  2.  Bust  of  Halsey  C.  Ives  by  Victor  S. 
Holm.  3.  Bust  of  William  Howard  Taft  by  Robert  Aitken. 
4.  Henry  Ward  Beecher  by  John  Quincy  Adams  Ward — a 
dignified  and  well-known  life-size  statue. 

Along  the  south  peristyle  are  (at  the  right)  1.  Piping 
Pan  by  Louis  St.  Gaudens.  2.  Flying  Cupid  by  Janet  Scud- 
der.  3.  Muse  Finding  the  Head  of  Orpheus  by  Edward 
Berge — a   marble   well    expressive   of   gentle   grief.      Orpheus, 

I  73  1 


OUTDOOR  GALLERY  OF  SCULPTURE 

sweetest  musician  of  Greek  mythology,  after  failing  to  recover 
his  beloved  Eurydice  from  the  underworld,  in  his  sorrow  scorned 
ihe  Thracian  nymphs,  who  in  their  anger  dismembered  him. 
His  head  was  washed  up  by  the  sea  and  found  by  the  sorrowing 
Muses.  4.  (At  the  left)  Michael  Angelo  by  Robert  Aitken, 
showing  the  master-sculpture  at  work  on  one  of  his  famous 
figures.  5.  (At  the  right)  Young  Pan  by  Janet  Scudder. 
6.  (At  the  left)  Wood  Nymph  by  Isidore  Konti.  7.  Young 
Mother  with  Child  by  Furio  Piccirilli.  8.  (At  the  right) 
Wild  Flower  by  Edward  Berge.  9.  (At  the  left)  Eurydice 
by  Furio  Piccirilli.  10.  (At  the  right)  Boy  and  Frog  by  Ed- 
ward Berge.  1 1 .  (At  the  left)  Dancing  Nymphs  by  Olin  L. 
Warner.  12.  Idyl  by  Olga  Popoff  Muller.  13.  An  Outcast 
by  Attilio  Piccirilli.  14.  (Beside  the  doorway)  Youth  by 
Charles  Carey  Rumsey.  Before  the  doorway  is  to  be  placed 
The  Pioneer  Mother  Monument  by  Charles  Grafly. 

About  the  rotunda  are:  1.  (Outside  the  southwest  arch- 
way) Thomas  Jefferson  by  Karl  Bitter.  2.  (In  center  of 
rotunda)  Lafayette  by  Paul  Wayland  Bartlett — the  statue 
given  by  America  to  France.  3.  Lincoln  by  Daniql  Chester 
French,  a  dignified  portrayal  that  cannot  be  justly  judged 
from  the  plaster  model  here  exhibited.  4.  Relief  by  Richard 
H.  Recchia,  representing  "Architecture."  3.  Commodore 
Barry  Memorial  by  John  J.  Boyle.  6.  Relief  by  Richard  H. 
Recchia,  representing  * 'Architecture."  7.  Princeton  Student 
Memorial  by  Daniel  Chester  French — a  noble  treatment  of 
a  difficult  theme.  8.  The  Young  Franklin  by  Robert  Tait 
McKenzie.  This  is  a  fine  conception,  in  which  the  sculptor 
has  escaped  from  the  conventional  path  of  monumental  por- 
traiture. 9.  (On  walls  of  west  archway)  Reliefs  by  Bela  L. 
Pratt,  representing  "Sculpture."  10.  (Outside  west  archway) 
Portrait  of  a  Boy  by  Albin  Polasek.  1 1 .  The  Awakening 
by  Lindsey  Morris  Sterling.  12.  (Beside  northwest  archway) 
William  CuUen  Bryant  by  Herbert  Adams. 

Along  the  north  peristyle  are:  1.  (Beside  main  doorway 
of  gallery)  Beyond  by  Chester  Beach.  2.  The  Sower  by 
Albin  Polasek.  3.  The  Centaur  by  Olga  Popoff  Muller. 
4.  Boy  with  Fish  by  Bela  L.  Pratt.  5.  (At  the  right)  Return- 
ing from  the  Hunt  by  John  J.  Boyle.    6.  (At  the  left)  L* Amour 

[74] 


OUTDOOR  GALLERY  OF  SCULPTURE 

by  Evelyn  Beatrice  Longman — a  marble  wherein  the  woman's 
figure  is  tenderly  beautiful.  7.  Garden  Figure  by  Edith 
Woodman  Burroughs.  8.  (At  the  right)  Fighting  Boys 
Fountain  by  Janet  Scudder.  9.  Soldier  of  Marathon  by 
Paul  Noquet.  10.  (At  the  left)  Youth  by  Victor  D.  Salva- 
tore.  1 1 .  (At  the  right)  Primitive  Man  by  Olga  Popoff 
Muller.  12.  The  Scalp  by  Edward  Berge — an  unpleasant  bit 
of  realism.  13.  (At  the  left)  Apollo  by  Haig  Patigian.  14.  (At 
the  right)  A  Faun's  Toilet  by  Attilio  Piccirilli.  15.  Duck 
Baby  Fountain  by  Edith  Barretto  Parsons.  16.  Maiden  of 
the  Roman  Campagna  by  Albin  Polasek — a  figure  instinct 
with  the  spirit  of  the  antique. 

On  the  circle  at  the  north  end  of  the  peristyle  are:  1 .  (At 
the  right)  Young  Diana  by  Janet  Scudder — a  young  goddess 
of  the  hunt,  conceived  in  modern  spirit,  with  remarkable 
freedom  and  grace  of  movement.  2.  Great  Danes  by  Anna 
Vaughan  Hyatt.  3.  (In  walk)  Sundial  by  Harriet  W.  Frish- 
muth.  4.  Bondage  by  Carl  Augustus  Heber.  5.  Boy  Pan 
with  Frog  by  Clement  J.  Barnhorn.  6.  Sundial  by  Gail 
Sherman  Corbett.  7.  Three  fountain  groups  in  one  basin, 
all  by  Anna  Coleman  Ladd.  Of  these  the  Sun  God  and 
Python  has  been  especially  admired  as  a  spirited  and  graceful 
bit  of  work.  8.  (On  the  lagoon  side  of  the  circle)  Mother  of 
the  Dead  by  C.  S.  Pietro — a  sincere  and  powerfully  realistic 
work,  and  quite  unlike  anything  else  in  the  outdoor  gallery. 

9.  (In   walk)   Chief  Justice   Marshall   by   Herbert   Adams. 

1 0.  Destiny  by  C.  Percival  Dietsch.  1  1 .  Sundial  by  Edward 
Berge.  12.  Daughter  of  Pan  by  R.  Hinton  Perry.  13.  Head 
of  Lincoln  by  Adolph  A.  Weinman. 

Along  the  roadway  to  the  left,  as  one  leaves  the  circle, 
are  two  sculptures:  Bird  Fountain  by  Caroline  Risque,  and 
Prima  Mater  by  Victor  S.  Holm. 

North  of  the  lagoon  are :  1 .  Fragment  of  the  Fountain 
of  Time  by  Lorado  Taft.  2.  Nymph  by  Edmond  T.  Quinn. 
3.  Dying  Lion  by  Paul  Wayland  Bartlett.  4.  Rock  and 
Flower  Group  by  Anna  Coleman  Ladd.     5.  Whale-man  by 

Bela   L.    Pratt. 

On  the  island  at  the  north  end  of  the  lagoon  is  a  fountain 
by  Robert  Paine. 

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THE  FINE  ARTS  GALLERIES 

Do  not  visit  the  Fine  Arts  exhibits  bUndly,  without  know- 
ing what  they  are  aimed  to  show;  and  do  not  try  to  see  the 
whole  exhibition  in  one  day.  First  understand  the  scope  and 
arrangement  of  the  displays,  and  then  follow  some  definite 
system  by  which  you  are  sure  to  get  the  best  out  of  each 
individual  section.  It  is  better  to  see  one  part  thoroughly 
than  to  carry  away  a  confused  impression  of  the  whole. 

The  scope  of  the  exhibit  is  limited  to  painting,  sculpture 
and  print-making,  except  in  the  Oriental  sections.  In  painting 
the  primary  aim  has  been  to  make  a  representative  display  of 
contemporary  work.  Most  of  the  galleries  contain  only 
canvases  painted  within  the  last  ten  years.  But  in  order  to 
correct  the  common  misconception  that  American  art  is  entirely 
a  thing  of  today,  without  historical  background,  a  few  rooms 
are  given  up  to  historic  works  of  the  various  early  American 
schools,  and  to  works  of  the  foreign  schools  that  have  influenced 
the  development  of  American  art. 

The  arrangement  of  the  galleries  should  be  mastered 
before  one  starts  to  study.  In  general  there  are  three  divisions 
of  exhibits.  At  each  end  is  a  group  of  foreign  sections,  and  the 
great  middle  space  is  given  up  to  American  art.  The  accom- 
panying diagram  is  designed  primarily  to  make  clear  the  loca- 
tion of  the  several  divisions.  The  visitor  will  find  it  worth 
while  to  remember  that  a  main  central  corridor  runs  the  whole 
length  of  the  United  States  Section.  By  continually  referring 
to  this  corridor,  one  can  keep  one's  bearings  fairly  well. 

The  method  of  seeing  the  galleries  that  is  suggested  in 
this  guide  is  based  on  the  official  classification  as  far  as  possi- 
ble: the  foreign  sections  are  taken  in  order,  and  the  historical 
section  is  treated  in  that  chronological  sequence  which  the 
directors  intended  to  show  forth.  But  there  is  no  system  in 
the  arrangement  of  the  twenty-eight  general  rooms  of  con- 
temporary American  work.  In  treating  these  the  guide  aims 
to  suggest  tendencies  and  influences,  rather  than  to  point  out 
this  or  that  canvas  a^  a  good  or  bad  one.  Nevertheless  it  is 
believed  that  every  really  important  picture  or  artist  is  in- 

[  77  1 


FINE  ARTS  GALLERIES 

dividually  mentioned — so  that  one  who  has  used  the  manual 
consistently  may  be  sure  of  having  enjoyed  the  cream  of  the 
collection,  at  the  same  time  gaining  the  wider  knowledge  of 
the  main  currents  of  development. 

It  is  necessary  to  use  to  a  certain  extent  the  arbitrary 
subject-divisions,  such  as  portrait,  landscape,  and  figure  paint- 
ing; and  to  refer  also  to  realistic  painting,  which  tends  to  depict 
things  as  they  are,  as  opposed  to  the  academic,  which  recognizes 
the  wisdom  of  conventionalization  or  idealization.  But  the 
most  important  distinction,  for  the  student  of  contemporary 
tendencies,  is  that  which  concerns  the  term  "Impressionism." 
This  name  in  its  original  and  technical  sense  applied  to  the 
works  of  the  men  who,  instead  of  mixing  shades,  placed  dif- 
ferent colors  side  by  side  on  their  canvases  to  give  the  effect 
of  the  right  shade  at  a  distance.  As  the  experiments  of  these 
artists  were  directed  chiefly  to  the  solution  of  problems  of 
light,  the  term  naturally  was  widened  to  include  that  whole 
division  of  painting  which  is  concerned  with  atmospheric  as- 
pects and  color  harmonies  rather  than  with  subject-interest 
and  line  composition.  Terms  which  express  the  same  idea  in 
general  or  in  part,  are  **luminism"  and  "plein-air  painting." 
Impressionism  has  had  more  effect  on  the  current  of  art  than 
has  any  other  movement  in  history.  Not  only  in  the  handling 
of  light  and  in  freshness  of  coloring  has  the  whole  of  painting 
been  profoundly  changed,  but  there  is  a  general  tendency  to 
paint  the  impression  rather  than  the  actuality,  the  harmonious 
effect  rather  than  the  literal  fact — and  these  things  are  notably 
illustrated  in  the  Exposition  galleries. 

For  the  sake  of  the  visitor  who  comes  to  the  gallery  with 
practically  no  knowledge  of  art,  a  word  may  profitably  be 
said  about  critical  standards.  First  remember  that  there  are 
many  qualities  which  may  make  a  painting  worth  while:  pleas- 
ing design,  beautiful  color,  a  compelling  expression  of  emotion 
or  thought,  or  a  poetic  suggestion  of  a  fleeting  aspect  or  mood. 
It  is  necessary  to  judge  each  particular  work  by  the  artist's 
intention,  and  not  by  untrained  personal  tastes.  Before  pass- 
ing judgment  learn  to  know  the  picture  well.  You  may  find 
that  you  have  been  attracted  by  something  superficial.  On 
the  other  hand,  you  may  find  that  the  seemingly  less  attractive 
picture,   which  has  been   recommended  by   people  of   trained 

[78] 


FINE  ARTS  GALLERIES 

judgment,  grows  more  and  more  pleasing  with  riper  acquaint- 
ance. Go  slowly,  study  thoroughly  what  you  study,  and  keep 
an  open  mind — for   that  way  leads   to   the  widest  enjoyment. 

UNITED  STATES  SECTION:    PAINTING 

The  United  States  Section  consists  chiefly  of  contemporary 
work,  but  includes  a  small  historical  section,  which  is  to  be 
found  to  the  left  as  one  enters  at  the  main  doorway.  It  is  in 
this  part  of  the  exhibit  that  one  should  start. 

The  Historical  Section  consists  of  two  well-defined  parts. 
The  first  contains  examples  of  foreign  schools  of  painting  that 
have  influenced  American  art.  The  second  contains  the  works 
of  American  painters  from  the  beginnings  to  the  early  Twen- 
tieth Century.  The  Foreign  Historical  Section  occupies 
rooms  91-92  and  61-63. 

^  Gallery  91 — Early  Schools.  A  gallery  of  old  paintings, 
chiefly  of  the  Italian,  Flemish  and  Dutch  Schools,  designed  to 
suggest  the  earliest  roots  of  American  art.  Practically  all  the 
canvases  are  mere  echoes  of  the  **old  masters,"  and  they  may 
well  be  passed  over  hastily  by  all  but  the  most  thorough  his- 
torical student. 

Gallery  92 — French  Influence.  This  gallery  and  the 
next  two  are  designed  to  show  works  of  those  schools,  chiefly 
French,  that  have  had  direct  influence  upon  American  art. 
On  wall  A  is  a  painting  by  Courbet,  interesting  in  the  light  of 
that  artistes  influence  on  Whistler's  early  work.  But  most 
important  here  are  the  examples  of  the  Barbizon  School,  roman- 
tic landscape  painters  of  the  mid-Nineteenth  Century,  who 
had  much  to  do  with  the  development  of  the  Inness-Wyant 
group  in  America.  On  wall  B  are  two  canvases  by  Corot, 
both  badly  placed,  one  of  which  (1486)  is  typically  poetic  and 
beautiful.  The  examples  by  Daubigny  and  Rousseau  on  wall 
C  are  not  satisfying.  On  wall  D  the  two  Monticellis  suggest 
the  source  of  some  of  the  rich  qualities  of  the  work  of  Keith 
and  similar  American  painters. 

Gallery  62,  adjoining  92,  shows  the  best  example  of  Bar- 
bizon work,  in  Troyon's  beautiful  * 'Landscape  and  Cattle"  on 
wall  C.  On  wall  A  is  a  small  painting,  interesting  but  not 
characteristic,  by  Millet,  who  influenced  the  whole  world  of 

[79] 


FINE  ARTS  GALLERIES 

art  toward  sincerity.  On  wall  B  is  Sir  Laurens  Alma-Tadema's 
"Among  the  Ruins,"  sole  representative  here  of  the  English 
School  of  "polished"  painters  that  strongly  influenced  a  number 
of  American  artists.  On  wall  D  are  two  very  interesting  por- 
trait studies  by  Franz  von  Lenbach,  intended  to  suggest  the 
influence  of  the  Munich  School  on  American  art,  before  Ameri- 
cans began  to  flock  to  Paris  to  study. 

Gallery  61 — Recent  French  Influence.  On  wall  A  is 
an  uneven  collection  by  Monet,  the  greatest  apostle  of  Im- 
pressionism. This  group,  with  the  exception  perhaps  of  the 
sea-shore  scene,  should  be  studied  thoroughly,  in  regard  to  the 
technique  that  juxtaposes  colors  to  give  the  right  resultant 
tone  at  a  distance;  in  regard  to  the  general  tendency  to  sub- 
ordinate subject  interest  to  the  expression  of  fleeting  aspects; 
and  in  regard  to  the  masterly  handling  of  light.  No  other 
group  will  be  referred  to  so  often  in  connection  with  the  Ameri- 
can galleries.  On  wall  B  is  a  typically  joyous  canvas  by 
Gaston  La  Touche,  who  carries  Impressionism  into  figure 
work.  On  walls  C  and  D  are  other  examples  of  the  Impres- 
sionist School,  by  Pissarro  and  Renoir  and  the  English  Sisley. 
On  wall  C  is  a  portrait  by  Eugene  Carriere.  On  wall  D  is  a 
panel  by  Puvis  de  Chavannes,  who  has  influenced  modern 
mural  painting  more  than  any  other  artist.  This  picture  has 
the  typical  union  of  the  classic  feeling  with  very  modern  tech- 
nique, but  it  is  representative  of  de  Chavannes*  manner  rather 
than  of  his  whole  art  at  its  best. 

Gallery  63  —  English  Influence.  This  is  the  richest  of 
the  historical  rooms.  Although  there  is  a  scattered  collection 
including  the  names  of  Van  Dyke,  Guido  Reni,  Tiepolo,  Ribera, 
Velasquez,  Goya,  and  Turner,  on  walls  A  and  B,  the  important 
thing  is  the  fine  collection  of  the  English  portraitists.  Here 
are  examples,  many  of  them  among  the  finest,  by  Hogarth, 
Reynolds,  Gainsborough,  Romney,  Lawrence,  and  Hoppner. 
It  is  hardly  necessary  to  point  out  the  close  connection  between 
the  work  of  this  English  group  and  early  American  painting, 
since  a  visit  to  the  adjoining  gallery  60  will  show  how  the 
first  important  development  in  the  States  grew  out  of  the  art 
of  the  mother  country. 

The  American  Historical  Section  covers  the  entire  de- 
velopment of  American  painting  from   the  beginning  to  the 

[801 


FINE  ARTS  GALLERIES 

early  years  of  the  present  century.  To  obtain  the  proper 
sequence,  one  should  start  in  room  60,  working  gradually  down 
to  57,  then  visiting  64  and  54. 

Gallery  60  contains  a  profusion  of  fine  examples  of  the 
early  portrait  school,  which  was  so  closely  connected  with 
English  art  of  the  time.  Gilbert  Stuart,  the  most  important 
figure,  is  represented  by  an  extensive  collection  on  wall  A. 
In  this  room,  too,  are  canvases  by  West,  Peale,  Copley,  and 
their  followers  well  into  the  Nineteenth  Century. 

Gallery  59  contains  chiefly  the  work  of  that  barren  mid- 
century  period  when  portraiture  and  landscape  painting  alike  be- 
came hard  and  labored.  Insofar  as  any  foreign  influences  can  be 
detected  here,  they  are  of  the  ** tight"  schools  of  England 
and  Germany. 

Gallery  58  contains  some  interesting  work  of  the  latter 
half  of  the  Nineteenth  Century — notably  the  paintings  by 
Eastman  Johnson,  an  important  figure  of  the  time  when  Ameri- 
can art  was  finding  itself.  Albert  Bierstadt's  two  landscapes 
are  typical  of  the  so-called  Hudson  River  School,  the  mechanical 
forerunner  of  the  Inness-Wyant  group.  An  interesting  con- 
trast is  offered  here  by  H.  J.  Breuer's  **Santa  Inez  Mountains,** 
a  contemporary  landscape  that  is  full  of  the  freshness  and 
light  of  present-day  American  painting. 

Gallery  57  shows  another  great  step  in  advance.  A  gen- 
erous portion  of  the  space  is  given  to  Edwin  A.  Abbey,  an 
American-born  artist  who  really  was  more  a  part  of  English 
art.  The  exhibit  shows  clearly  that  Abbey  was  greater  as 
illustrator  than  as  painter,  the  finest  things  here  being  the 
exquisite  pen  drawings.  Wall  D  has  five  paintings  by  John 
LaFarge,  who  by  his  work  and  by  his  theories  greatly  influenced 
American  art  at  the  end  of  the  century.  Worthy  of  study,  too, 
are   the  more   modern   landscapes   of   Theodore   Robinson. 

From  this  room  one  should  turn  back  into  the  central  line 
of  galleries. 

Gallery  64  contains  historical  American  paintings  that 
range  through  the  latter  half  of  the  last  century  and  into  this, 
with  such  well-known  names  as  Parrish,  Gifford,  Hunt,  Wylie, 
Martin,  the  Morans,  Eakins,  and  even  the  more  recent  Fred- 
eric Remington.     Such  pictures  as  F.  E.  Church's  ''Niagara 

[81] 


FINE  ARTS  GALLERIES 

Falls'*  (wall  A),  J.  G.  Brown's  "The  Detective  Story''  (wall  B), 
and  Thomas  Hovenden's  * 'Breaking  Home  Ties"  (wall  D),  are 
typical  of  what  was  accepted  as  the  best  work  a  generation 
or  two  ago. 

Passing  through  room  65,  one  should  next  go  to  54. 

Gallery  54  is  the  most  important  in  the  American  Histori- 
cal Section,  for  it  shows  the  work  of  the  men  who  really  eman- 
cipated American  painting  from  the  old  hardness  and  tightness 
of  technique,  and  from  the  old  sentimentalism.  Wall  A  is 
given  up  to  the  work  of  the  late  Winslow  Homer,  who  has 
been  called  "the  most  American  of  painters."  The  seashore 
scenes  alone  of  the  things  here  are  representative  of  this  big 
man  at  his  best.  Wall  B  has  a  varied  assortment  by  lesser 
painters,  but  ones  of  importance:  Blakelock,  Currier,  William 
Morris  Hunt,  and  Fuller.  On  walls  C  and  D  the  very  im- 
portant canvases  are  those  by  Inness  and  Wyant,  men  who 
were  deeply  influenced  by  the  French  Barbizon  School,  but 
whose  individual  achievement  marked  the  first  great  stride 
toward  the  bigness,  freedom  and  lightness  of  present-day 
American  landscape  painting. 

Contemporary  American  Painting.  Leaving  aside  the 
one-man  rooms  for  the  present,  it  is  just  as  well  to  turn  from 
the  last  historical  room,  54,  into  55,  and  progress  in  natural 
order  through  56,  65,  85,  66  (the  central  hall),  and  80.  The 
contemporary  rooms  north  of  the  central  hall  can  be  best  visited 
in  three  groups,  each  following  the  official  room  numbering: 
first,  67  to  74 ;  then  43  to  5 1  ;  and  finally  the  detached  section 
at  the  far  north  end  of  the  building,  II 7  to  1 20. 

Gallery  55  has  a  well  assorted  collection  of  contemporary 
canvases,   but  includes  no  outstanding  features. 

Gallery  56  is  a  typical  moderr)  American  room,  with  good 
landscapes  in  the  work  of  Breuer,   Borg,   Davol,  and  Stokes. 

Gallery  65  contains  some  of  the  best  American  figure  paint- 
ings in  the  building.  The  finest  group  is  that  by  Cecilia  Beaux 
on  wall  D,  which  well  displays  that  remarkable  artist's  bril- 
liant technique  and  **flair."  It  is  notable  how  many  of  the 
really  virile  paintings  here  are  by  women — many  of  them  of 
the  younger  groups.  From  Marion  Pooke's  polished  but  free 
**Silhouettes,"  and  Alice  Kent  Stoddard's  appealing  "Sisters," 

I  82  I 


FINE  ARTS  GALLERIES 

to  M.  Jean  McLane's  joyously  brilliant  canvases  on  wall  C, 
there  is  a  wide  range  of  achievement  and  promise. 

Gallery  85.  On  walls  A  and  B  are  five  canvases  by  Horatio 
Walker  that  are  worthy  of  attention.  But  finer  are  Charles  W. 
Hawthorne's  four  paintings  on  walls  B  and  D.  Their  bigness 
of  conception,  sincerity  and  soundness  of  technique  mark  a 
coming  master.  Wall  C  is  given  up  to  a  display  by  Charles 
Walter  Stetson,  which  shows,  more  strongly  than  any  other 
in  the  American  section,  that  tendency  to  the  decorative  and 
the  idyllic  which  is  to  be  noted  as  so  strong  in  recent  painting. 
On  wall  D  are  three  works  of  George  deForest  Brush,  a  man 
who  has  been  but  little  influenced  by  the  more  radical  tenden- 
cies. **The  Potter**  is  interesting  for  the  painstaking  and  minute 
finish  of  varying  surface  textures. 

Gallery  66 — Central  Hall.  Although  the  important 
places  here  are  given  to  sculpture,  there  are  a  few  very  inter- 
esting paintings:  some  representative  landscapes,  and  at  the 
ends  decorative  panels  by  Alexander  Harrison  and  by  Howard 
Gushing. 

Gallery  80  is  notable  for  the  work  of  painters  who  have 
followed  rather  closely  the  old  academic  traditions:  for  the 
smooth  and  polished  canvases  of  W.  M.  Pax  ton  and  Philip 
Leslie  Hale.  There  are  also  seven  landscapes  by  Willard  L. 
Metcalf,  fresh  attractive  work  of  the  ''pl^iri-^ir**  school. 

Gallery  67  is  rich  in  fine  landscapes,  and  contains  the  best 
of  the  exhibition's  marines.  Here  are  the  only  works  of  Charles 
H.  Davis,  a  notable  follower  of  the  poetic  Inness  School,  and 
of  Leonard  Ochtman  and  Ben  Foster,  who  stand  well  to  the 
fore  among  the  more  vigorous  landscapists.  Also  worthy  of 
attention  are  the  landscapes  of  Braun,  Borg,  White,  Wendt, 
J.  F.  Carlson,  Rosen  and  Browne.  The  marines  represent  well 
a  department  of  painting  in  which  Americans  have  long  ex- 
celled; on  wall  A  are  four  by  Paul  Dougherty,  on  B  and  C 
three  by  Frederick  J.  Waugh,  and  on  D  one  by  Emil  Carlsen. 
Of  the  other  paintings  the  most  interesting  is  the  idyllic  bit 
by  Hugo  Ballin  on  wall  C,  representative  of  the  decorative 
tendency. 

Gallery  68  contains  as  its  most  important  exhibit  three 
portraits  by  J.  C.  Johansen,  on  wall  B,  all  typical  of  the 
brilliant    fluency    of    this    remarkable    painter.      Among  the 

[83] 


THE  PERISTYLE  AT  NIGHT 
Bernard  R.  Maybeck,  Architect 


FINE  ARTS  GALLERIES 

landscapes  here  the  most  important  are  the  two  Schofields  on 
wall  D,  typical  of  the  best  and  sanest  phase  of  Impressionism 
in  America.  Very  important  too  are  the  canvases  by  Daniel 
Garber  on  wall  C. 

Gallery  69  contains  a  mixed  collection,  with  such  different 
good  things  as  Lawton  Parker's  polished  figure  studies  (wall  B) 
and  J.  Francis  Murphy's  poetic  landscape  (wall  C).  On  wall  C 
is  a  painting  by  John  W.  Alexander,  one  of  the  leaders  in 
American  art,  which  is  typical  of  his  method  of  subordinating 
subject  interest  to  line  arrangement  and  color  composition. 

Gallery  70 — Portrait  Room.  On  wall  C  are  three  portraits 
by  Irving  R.  Wiles,  and  on  D  two  by  Julian  Story — both  names 
long  well-known  in  American  art.  But  the  surprising  thing  is 
that  several  of  the  canvases  by  less  known  men  stand  up  with, 
or  even  surpass,  these. 

Gallery  71  is  notable  chiefly  for  some  good  landscapes. 

Gallery  72  contains  little  to  hold  the  attention,  unless  it  is 
the  group  of  canvases  by  Walter  McEwen,  who  shows  adherence 
to  the  older  traditions,  not  only  in  smoothness  of  technique, 
but  in  sentimentalism  and  general  prettiness. 

Gallery  73  is  given  up  chiefly  to  Alson  Clark's  over-sketchy 
and  intemperately  colored  Panama  pictures.  The  most  inter- 
esting thing  here  is  Ernest  Lawson's  ''Beginning  of  Winter," 
on  wall  B,  a  representative  work  by  one  of  the  most  successful 
American  followers  of  Impressionism. 

Gallery  74  is  a  room  of  good  landscapes,  with  a  few  out- 
standing canvases  like  Will  S.  Robinson's  * 'Group  of  White 
Birches"  on  wall  C. 

A  new  start  should  be  made  here  by  passing  through  rooms 
70  and  71  to  43,  from  which  the  numerical  order  can  be  followed 
back  to  room  5 1 ,  adjoining  the  central  hall. 

Galleries  43  and  44  have  a  range  from  many  mediocre  to 
a  few  really  good  things,  lacking  anything  that  demands  special 
attention. 

Gallery  45  is  a  room  rich  in  comparative  values.  Note  the 
delicacy  of  treatment  and  of  color  in  William  Sartain's  three 
landscapes,  on  wall  A,  and  in  Birge  Harrison's  atmospheric 
paintings  on  wall  D.  Compare  these  with  the  heavily  painted 
and  richly  colored  canvases   by  Walter  Griffin  on  wall  C,  and 

185  1 


FINE  ARTS  GALLERIES 

then  with  the  more  straightforward,  vigorous  work  of  Charles 
Morris  Young  on  wall  B.  Harrison,  Griffin  and  Young,  at 
least,  are  of  the  distinctly  modern  school;  but  note  how  individ- 
ually each  has  utilized  his  inheritance  of  vibrating  color  and 
light.  On  wall  A  are  two  fine  figure  studies  by  Robert  Reid, 
an  innovator  and  a  really  great  painter,  though  he  did  not  show 
it  when  he  painted  the  panels  for  the  Fine  Arts  rotunda. 

Gallery  46.  There  is  much  poor  material  here;  but  on  walls 
B  and  C  are  some  paintings  by  Frank  Vincent  Dumond  that 
are  interesting  for  their  fresh  coloring  and  their  solving  of  light 
problems. 

Gallery  47  contains  evidences  of  progress  in  varied  lines, 
from  E.  L.  Blumenschein's  big  Indian  pictures,  and  Colin 
Campbell  Cooper's  studies  of  American  cities,  to  the  experi- 
ment in  painting  flesh  against  a  richly  varied  background,  by 
Richard  Miller,  a  gifted  American  who  has  long  lived  in  Paris. 

Gallery  48  contains  much  promising  work  of  various  ten- 
dencies, but  no  outstanding  features. 

Gallery  49  contains,  on  wall  A,  a  splendid  collection  of  the 
work  of  Dwight  W.  Tryon,  one  of  the  older  school  of  land- 
scapists,  who  helped  to  break  the  way  for  the  moderns  and  has 
kept  up  with  them  to  a  great  extent.  With  the  exception  of 
one  canvas,  the  pictures  on  walls  B  and  D  are  by  J.  Alden 
Weir,  another  roadbreaker,  and  an  experimenter  with  new 
effects  of  light  and  atmosphere.  In  such  canvases  as  **June'* 
and  * 'White  Oak**  one  finds  some  of  the  best  that  American 
art  has  built  on  the  theories  of  Monet. 

Gallery  50  contains  some  good  landscapes,  but  nothing 
that  demands  special  attention  aside  from  Sergeant  Kendairs 
refined  figure  studies. 

Gallery  51  is  given  over  in  general  to  the  independents  and 
extremists  of  American  art.  Here  are  canvases  by  Glackens, 
Sloan,  and  Breckenridge,  rather  disappointing  to  one  who  has 
watched  hopefully  the  movement  they  represent.  Certainly 
their  exhibits  are  suggestive  of  a  rather  undisciplined  vigor 
and  freedom.  On  wall  C  the  five  canvases  in  the  lower  row 
are  by  Robert  Henri.  They  are  the  experiments  of  a  master, 
rather  than  his  best  works.  The  truly  representative  Henri 
picture  is  the  **Lady  in  Black  Velvet,**  on  wall  D.  This  has  a 
wonderful   synthetic   quality,    a   suppression   of   detail   and   a 

[861 


FINE  ARTS  GALLERIES 

spotting  of  interest  at  the  important  point.  There  is,  too,  a 
spiritual  quality  that  is  lacking  in  the  other  canvases.  On  the 
other  side  of  the  doorway  is  Gertrude  Lambert's  "Black  and 
Green,*'  a  notably  fine  canvas. 

The  only  other  general  rooms  of  the  contemporary  American 
section  are  those  at  the  far  north  end  of  the  building,  beyond 
the  foreign  sections,  numbered  from  1  1  7  to  1 20. 

Gallery  117  is  a  sort  of  catch-all  room,  in  which  are  many 
things  that  never  should  have  been  admitted  to  the  galleries. 
The  really  interesting  feature  is  the  series  of  canvases  by 
Frieseke,  full  of  light  and  freedom.  Gallery  118  is  less  mediocre 
on  the  whole,  but  lacks  any  features  of  special  appeal.  Gallery 
119  includes  a  surprising  conglomeration  of  paintings  and  draw- 
ings in  all  mediums,  wherein  the  extremists  have  their  say. 
There  is  a  wealth  of  interest  here,  but  one  must  have  time  to 
separate  the  bad  from  the  good.  Gallery  120  is  also  marked 
generously  by  the  newer  tendencies.  The  important  feature 
is  the  group  of  virile  paintings  by  George  Bellows,  on  wall  C. 
These  mark  the  most  successful  American  attempt  to  grasp 
sanely  the  bigness  and  freedom  of  the  post- Impressionist 
movements. 

One-man  Rooms.  As  a  part  of  the  plan  to  show  the  various 
influences  on  the  course  of  American  art,  it  was  decided  to  give 
up  a  number  of  rooms  to  individual  displays  by  leaders  of  the 
several  well-marked  tendencies.  Galleries  75-79,  87-90,  and  93, 
at  the  east  side  of  the  building  on  either  side  of  the  center, 
contain  these  **one-man  shows." 

Gallery  75 — Sargent.  Here  are  shown  a  number  of  can- 
vases by  the  man  generally  considered  the  greatest  living  Amer- 
ican painter — certainly  the  greatest  of  the  portraitists.  Though 
containing  none  of  the  really  famous  paintings,  there  are  por- 
traits which  show  the  typical  Sargent  brilliancy — the  swift 
sureness  and  the  perfect  balance  of  restraint  and  freedom.  The 
James  portrait  is  especially  worthy  of  study. 

Gallery  76 — Mathews.  In  this  room  are  shown  a  number 
of  canvases  by  Arthur  F.  Mathews,  most  important  of  the 
California  painters,  as  well  as  a  few  by  Francis  MacComas, 
another  Californian.  Mathews  stands  primarily  for  the  decora- 
tive tendency.     His  canvases  have  a  noble  sense  of  repose  that 

187] 


FINE  ARTS  GALLERIES 

is  too  often  lacking  in  contemporary  work,  and  there  is  remark- 
able color  harmony  here. 

Gallery  77 — Melchers.  Here  are  representative  works  by 
Gari  Melchers,  a  famous  American  who  has  long  lived  abroad. 
Unmistakably  these  canvases  are  from  a  masterly  brush;  but 
the  coloring  is  not  always  good,  and  the  room  is  somewhat 
disappointing. 

Gallery  78 — Hassam.  By  common  consent  Childe  Hassam 
is  considered  the  greatest  American  follower  of  Impressionism. 
He  is  an  innovator  who  has  carved  a  sure  place  for  himself  by 
adding  a  new  vigor  to  the  methods  of  the  original  Impressionists. 
Such  decorative  canvases  as  2033  on  wall  B,  and  such  delicate 
ones  as  2029  on  wall  D,  should  be  compared  with  the  Monets 
in  room  6 1 . 

Gallery  79 — Chase.  This  room  is  designed  to  show  the 
work  of  an  American  who  was  greatly  influenced  by  the  Munich 
School  of  painters.  William  M.  Chase,  both  in  his  portraits 
and  in  his  remarkable  still-life  studies,  shows  the  fine  German 
thoroughness  rather  than  French  brilliancy.  The  four  can- 
vases that  hold  the  places  of  honor  on  all  four  walls  show  clearly 
the  influence  of  Whistler. 

Gallery  87 — Duveneck.  Here  are  works  by  Frank  Duven- 
eck,  who  like  Chase  studied  at  Munich.  Sound  in  draughts- 
manship, steady,  and  well-thought  out,  they  maintain  a 
remarkable  standard  of  excellence.  It  is  instructive  to  step 
from  here  into  the  adjoining  large  gallery,  where  the  French 
influence  is  predominant. 

Gallery  88 — Redfield.  In  the  winter  scenes  of  E.  W. 
Redfield  one  finds  the  sure  touch  of  a  master  of  the  new  and 
vigorous  school  of  American  landscapists.  Redfield  has 
modified  Impressionism,  clinging  to  a  certain  reality,  and  yet 
achieving  the  sparkling  atmospheric  effects  of  the  luminists. 

Gallery  89 — Tarbell.  In  contrast  to  Hassam  and  Redfield 
and  Twachtman  is  Edmund  C.  Tarbell,  who  has  taken  but 
little  from  the  Impressionist  group.  His  most  characteristic 
and  most  appealing  work  can  be  seen  in  the  canvases  on  wall 
A,  beautifully  lighted  interiors  which  show  the  academic  ten- 
dency, but  in  a  new  and  delightful  way. 

Gallery  90— Keith.  This  collection  of  canvases,  with  its 
sameness  of  subject  and  arrangement,  is  hardly  typical  of  the 

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late  William  Keith  at  his  best.  He  was  the  western  representa- 
tive of  the  Inness-Wyant  school  of  the  late  Nineteenth  Century, 
though  he  leaned  more  to  the  romantic  than  did  the  others. 

Gallery  93 — Twachtman.  Here  are  the  works  of  a  painter 
who  is  closer  to  Monet  than  to  the  more  vigorous  American 
school  of  modified  Impressionism.  It  is  well  to  study  one  wall, 
A  perhaps,  and  then  to  go  to  the  Redfield  and  Hassam  rooms, 
and  then  to  the  group  of  Monets,  to  see  the  various  ways  in 
which  Impressionism  has  spread. 

Gallery  26 — Whistler.  The  Whistler  room  is  quite  appro- 
priately placed  with  the  foreign  historical  rooms,  rather  than 
with  the  other  one-man  galleries — as  if  Whistler  should  be 
grouped  with  the  influences  rather  than  the  influenced.  The 
room  contains  none  of  the  artist's  finest  paintings,  but  is  well 
representative  of  the  several  sides  of  his  woik.  Wall  D  shows 
Whistler  the  portraitist,  with* *his  faces  and  figures  that  emerge 
from  a  soft  black  background,  very  much  as  one  sees  a  person 
in  the  gathering  twilight.**  On  walls  A  and  B  it  is  Whistler 
the  colorist,  and  on  wall  B  especially.  Whistler  the  rediscoverer 
of  Japanese  color  and  figure  composition.  On  wall  D  is  the 
**Study  of  Jo,**  an  uncharacteristic  early  work,  which  shows 
the  influence  of  Courbet. 

AMERICAN  SECTION:  PRINTS 

The  American  prints  occupy  rooms  29  to  34,  along  the  west 
wall  of  the  building  just  south  of  the  central  vestibule.  The 
exhibit  is  very  representative,  and  contains  both  historical  and 
contemporary  sections. 

Gallery  29 — Prints  by  Whistler.  Here  is  a  collection  of 
Whistler*s  etchings  and  lithographs,  with  a  few  drawings.  The 
distinguishing  quality  is  an  exquisite  delicacy. 

Gallery  30 — Historical  Prints.  In  this  room  one  can 
trace  the  development  of  American  engraving  and  etching  from 
the  beginnings  to  the  present  day.  Starting  on  wall  D  one 
finds  steel  engraving  illustrated  from  the  days  of  Paul  Revere 
to  its  decadence;  then  the  history  of  wood-engraving  to  its 
flowering  in  Cole  and  Wolf ;  early  and  recent  American  etching ; 
and  a  few  modern  copper  engravings  and  lithographs. 

Gallery  31 — Prints  by  Pennell.  This  room  contains  a 
splendid    collection   of   prints    from    all    of    Joseph    PennelKs 

(89  1 


FINE  ARTS  GALLERIES 

t 

important  series,  in  etching,  lithography  and  mezzotint — a 
remarkable  display  by  one  of  the  world's  greatest  etchers. 

Galleries  32  and  33 — Contemporary  Etchers.  These  two 
rooms  contain  a  rich  collection  of  contemporary  American  work 
that  should  be  studied  print  by  print.  Even  a  superficial  look 
will  indicate  that  even  without  Pennell  and  Whistler  the 
American  etchers  are  doing  work  universally  worth  while. 

Gallery  34 — Color  Prints.  Here  is  an  interesting  collection 
of  color  prints  in  both  etching  and  wood  engraving.  It  shows 
the  achievement  of  the  younger  artists  in  mediums  that  were 
practically  unknown  in  this  country  ten  years  ago. 

AMERICAN  SECTION:  ILLUSTRATION 

Galleries  41  and  42  are  given  up  to  drawings  and  paintings 
by  Howard  Pyle,  who  has  been  called  "the  father  of  modern 
American  illustration." 

Gallery  26,  adjoining  the  Italian  section,  contains  a  small 
but  fairly  interesting  group  of  original  drawings  for  illustration. 
In  the  work  of  Wyeth,  Schoonover,  Elizabeth  Shippen  Green, 
Jessie  Wilcox  Smith,  and  others,  there  is  very  strong  evidence 
of  Howard  Pyle's  influence.  On  wall  B  of  this  room,  and  in  the 
adjoining  gallery  27,  there  is  a  collection  of  photographs  of 
American  sculpture  and  mural  paintings. 

Gallery  36,  adjoining  the  main  west  vestibule,  has  a  miscella- 
neous collection  of  drawings  and  paintings  in  all  mediums, 
ranging  from  the  most  delicate  and  polished  to  caricature  and 
sketchiness  run  riot.  There  is  a  great  deal  of  interest,  but  little 
that  is  important  in  a  big  way. 

AMERICAN  SECTION:  MINIATURES 

Galleries  37  and  40  contain  an  excellent  collection  of  min- 
iatures, ranging  from  a  work  by  Malbone,  the  first  important 
American  in  this  field,  to  that  of  such  notable  contemporaries 
as  W.  J.  Baer,  Laura  C.  Hills,  and  Lucia  Fairchild  Fuller. 

In  both  miniature  rooms  there  are  a  number  of  paintings 
and  drawings,  in  various  mediums,  including,  in  room  40,  a  few 
oils  by  Jules  Guerin,  the  color  wizard  of  the  Exposition. 

AMERICAN  SECTION:  SCULPTURE 

Of  the  monumental  sculpture  of  the  American  Section  most 
of  the  finest  examples  are  out-of-doors.    The  central  hall  of  the 

.     (901 


FINE  ARTS  GALLERIES 

gallery  building  contains  a  collection  that  is  worth  studying 
piece  by  piece,  including  such  notable  things  as  Daniel  Chester 
French's  * 'Alice  Freeman  Palmer  Memorial,"  Karl  Bitter's 
* 'Signing  the  Louisiana  Purchase  Treaty"  and  "Tappan  Mem- 
orial," and  Robert  Aitken's  "Mausoleum  Door." 

But  by  far  the  most  notable  thing  about  the  sculpture 
display  is  the  extensive  collection  of  charming  small  bronzes, 
which  is  scattered  through  the  many  rooms.  The  visitor  should 
especially  make  sure  of  seeing  certain  individual  group  exhibits, 
such  as  the  very  freely  rendered  figures  by  Paul  Troubetzkoy 
in  the  International  Room  (108),  Paul  Manship's  groups,  with 
their  touch  of  classic  appeal,  in  gallery  93,  and  the  cases  of 
statuettes  by  Abastenia  St.  Leger  Eberle  and  Bessie  Potter 
Vonnoh,  in  gallery  65.  Very  rich  in  interest,  too,  is  the 
collection  of  medals  and  plaques,  shown  in  galleries  38  and  39 

FOREIGN  SECTIONS 

The  foreign  sections  are  in  two  groups,  at  the  two  ends  of 
the  building.  There  is  no  system  in  their  arrangement,  and 
they  are  treated  here  in  the  order  in  which  they  happen  to  be 
placed,  beginning  at  the  far  south  end. 

The  Japanese  Section  occupies  galleries  1  to  10.  To 
appreciate  Japanese  art  it  is  necessary  to  become  accustomed 
to  the  conventionalization  of  treatment — to  understand  what 
the  artist  was  after,  and  to  judge  from  that  standpoint.  It  is 
well  to  begin  by  studying  works  that  are  more  like  Western 
art — such  things  as  "Moving  Clouds"  (15)  and  "Evening: 
Nawa  Harbor"  (12)  in  room  1 — and  then  to  progress  to  the 
works  in  which  the  conventions  are  more  pronounced.  Note, 
throughout  the  paintings  in  rooms  1,  2  and  3,  the  delicacy  of 
tone,  the  color  harmony,  and  the  fine  sense  of  composition  and 
pattern. 

In  galleries  8  and  10  are  collections  of  Japanese  sculpture 
and  painting,  done  in  the  Western  manner.  It  is  interesting 
to  see  what  the  Oriental  artist  can  accomplish  in  an  alien 
medium;  but  neither  for  the  Japanese  nor  for  the  American 
can  these  works  have  the  same  genuine  appeal  as  those  in 
galleries  1  to  3.  The  other  rooms  contain  a  varied  collection 
of  porcelain,  embroidery,  wood  and  ivory  carving,  and  prints. 

[911 


FINE  ARTS  GALLERIES 

The  French  Section  is  one  of  the  most  interesting,  but  is 
hardly  representative  of  the  best  that  country  has  achieved  in 
art.  The  general  average  is  such  that  it  upholds  France's 
traditional  standing  as  the  home  of  "good  painting,"  but  this 
is  by  no  means  a  collection  of  masterpieces.  The  most  notice- 
able tendency  is  that  toward  the  decorative.  The  galleries 
of  the  French  section  have  been  re-numbered,  beginning  with  I . 

Gallery  1  is  a  rather  poor  room  on  the  whole,  though  it 
contains  two  canvases  on  the  north  wall  by  Lucien  Simon, 
typical  of  that  artist's  masterly  breadth  of  treatment.  On  the 
west  wall,  beside  the  doorway,  are  two  of  Aman-Jean's  portraits. 
The  little  landscape  (429)  under  one  of  these,  by  Marcel-Clement, 
is  notable,  as  are  also  Jean  Domerque's  decorative  canvas  on 
the  south  wall  and  Maury's  three  nude  girls  on  the  north. 

Gallery  2  is  most  interesting  for  the  group  on  the  north 
wall,  where  the  place  of  honor  is  given  to  Henri  Martin's  work. 
Here  is  an  artist  who  has  carried  Impressionism  to  its  limit  of 
vibrating  light  and  color.  The  large  central  canvas  should  be 
seen  from  the  Japanese  room.  The  self-portrait  (433)  is  even 
more  interesting.  On  this  wall  are  pictures  that  offer  a  striking 
comparison  of  methods  of  painting. 

Gallery  3  is  made  especially  interesting  by  the  domination 
of  one  man,  Maurice  Denis,  who  is  the  leader  among  the  **ad- 
vanced"  decorators  of  France.  There  is  much  that  is  worthy 
of  study  in  the  simplicity  and  in  the  color  of  his  panels  here. 
The  room  contains  also  a  number  of  examples  of  the  new  and 
ultra-new  schools,  from  Monet  and  Degas  to  Redon  and  Puy. 

Gallery  4  contains  few  outstanding  features,  the  more 
conservative  element  predominating.  There  is  charming  color 
in  Caro-Delvaille's  canvas  on  the  East  wall  (279),  and  there  is 
a  Lucien  Simon  on  the  south  wall.  Gallery  5  likewise  is  not 
very  important. 

Gallery  6  especially  illustrates  the  decorative  tendency.  On 
the  north  wall  are  panels  by  Auburtin,  a  follower  of  deChavannes, 
and  by  Devoux,  which  are  pure  decorations.  On  the  south  wall 
is  a  large  canvas  by  the  celebrated  Menard;  but  his  little  sea- 
scape on  the  west  wall  (445)  is  more  appealing,  being  one  of  the 
most  attractive  things  in  the  section.  Note  how  the  decorative 
tendency  characterizes  not  only  these  outdoor  pictures,  but 
the  neighboring  portraits  as  well.    On  the  east  wall  is  a  canvas 

[92  1 


FINE  ARTS  GALLERIES 

by  le  Sidaner,  a  leader  of  the  plein-air  school,  which   reminds 
one  that  good  French  landscapes  are  few  in  this  exhibit. 

The  Italian  Section  is  the  best  arranged  in  the  galleries. 
There  is  a  general  feeling  of  orderliness  and  rest  that  is  quite 
welcome  as  one  comes  from  the  overcrowded  American  rooms. 
The  Italian  paintings  do  not  give  the  impression  of  an  exhibition 
of  masterpieces — indeed  there  are  very  few  canvases  that  de- 
mand special  notice — but  they  are  well  up  to  the  average  set 
in  the  other  sections. 

Gallery  21  is  the  most  interesting.  On  the  wall  facing  the 
main  doorway  are  five  pictures  by  Ettore  Tito,  perhaps  the 
greatest  and  certainly  the  most  popular,  of  Italian  painters. 
AH  are  strong,  and  they  are  painted  with  a  bigness  and  a  sure- 
ness  of  touch  that  are  compelling.  Very  interesting  too  are  the 
canvases  on  the  adjoining  wall  by  Camillo  Innocenti,  who  has 
achieved  the  vibrating  light  and  fresh  coloring  of  the  Impres- 
sionist School  in  an  individual  way. 

Gallery  22  contains  a  varied  collection,  ranging  from  the 
academic  to  the  radical.  Here  are  two  canvases  by  Arturo 
Noci,  one  of  the  leaders  of  the  Italian  Secession.  Gallery  23 
is  given  up  mainly  to  sculpture.  The  most  compelling  thing  is 
d'Orsi's  realistic  * 'Tired  Peasant.'*  With  the  exception  of  some 
of  the  small  bronzes,  the  rest  of  the  sculpture  of  the  section  is 
hardly  notable. 

Gallery  24  contains  a  very  interesting  canvas  in  Plinio 
Nomellini's  picture  of  a  woman  and  child  in  a  boat  drawn  up 
under  a  tree.  The  thing  is  full  of  sunlight  and  sparkling  color; 
and  it  strikes  a  good  medium  between  the  old  tight  painting 
and  that  which  carries  Impressionism  too  far — both  of  which 
extremes  can  be  seen  in  plenty  in  this  room.  Gallery  25  is  an 
average  room,  without  special  features. 

The  Cuban  Section  occupies  gallery  20,  next  to  the  Italian 
section.  There  is  hardly  a  picture  here  that  does  not  seem 
labored    in    comparison    with    the    freedom    elsewhere. 

The  Uruguay  Section,  in  the  adjoining  gallery  19,  is  just 
the  opposite — full  of  freshness  and  vigor,  and  brilliant  in  color. 
But  the  gift  of  brilliancy  is  rather  undisciplined,  and  while  there 
is  unmistakable  promise,  one  feels  that  the  art  of  Uruguay  has 
not  yet  found  itself. 

[93] 


FINE  ARTS  GALLERIES 

The  Chinese  Section  occupies  galleries  94  to  97,  and  is 
notable  for  the  paintings  on  silk  and  paper,  the  cloisonne,  and 
the  lacquer.  There  is  a  wealth  of  interesting  material  in  the 
display,  but  it  really  requires  a  great  amount  of  study  for  full 
appreciation.  The  Chinese  Commission  has  prepared  a  special 
catalogue,  which  can  be  had  in  the  rooms  if  one  is  specially 
interested. 

The  Philippine  Section,  in  the  adjoining  gallery  98,  is 
almost  negligible  in  a  building  where  there  is  so  much  really 
worth  seeing — though  some  of  the  paintings  by  Felix  Hidalgo 
have  a  dramatic  interest. 

The  Swedish  Section,  in  galleries  99  to  107,  is  one  of  the 
most  important  in  the  building.  One  who  likes  a  gentle,  polished 
sort  of  art  will  not  be  at  home  here;  but  for  virile,  fresh  and 
colorful  painting  there  is  no  other  section  that  achieves  the  same 
high  standard.  Many  of  the  pictures  are  so  strong  and  big  that 
they  never  should  have  been  put  in  these  box-like  little  rooms, 
where  a  proper  perspective  is  impossible.  In  the  paintings  there 
are  traces  of  French  and  German  training,  and  especially  of 
Impressionism;  but  the  exhibit  shows  more  true  national  feeling 
and  more  individual  independence  than  any  other  in  the  building. 

The  two  featured  groups  are  the  remarkable  paintings  and 
tapestries  of  Gustav  Adolf  Fjaestad  in  gallery  107 — well  worthy 
of  long  study — and  the  paintings  and  prints  of  Carl  Larsson  in 
gallery  101.  But  there  are  many  other  things  quite  as  important: 
the  brilliant  and  fresh  canvases  of  Carlburg,  the  snow  scenes 
touched  with  late  sunlight,  by  Schultzberg,  and  the  compelling 
autumn  decorations  by  Osslund,  all  in  gallery  102;  the  illus- 
trations by  Bauer  in  gallery  104;  the  big  landscapes  by  Hessel- 
bom  in  gallery  1 05 ;  and  the  deep-toned  studies  by  Anna  Boberg, 
and  the  virile  portraits,  in  gallery  106.  If  you  doubt  that  these 
Swedish  painters  cefti  do  the  polished,  poetic  thing,  as  well  as 
the  big  vigorous  sort,  go  back  to  gallery  103,  and  look  at  Berg- 
strom's  atmospheric  "Spring  Day.*' 

The  Swedish  sculpture  is  not  so  remarkable  as  the  painting; 
but  the  print  section  in  gallery  99  contains  a  number  of  very 
interesting  etchings  and  wood  engravings. 

The  Argentine  Section,  in  gallery  1 12,  shows  much  that 
is  fresh,  strong,  and  brilliant  in  color.     It  is  interesting  to  see 

[94] 


FINE  ARTS  GALLERIES 

how  much  closer  these  South  American  painters  are  to  Spain 
than  to  France  and  Germany.  Here  are  many  echoes,  not  only 
of  Velasquez  and  Goya,  but  of  the  vital  modern  Spaniards  like 
Zuloaga.  The  collection  is  very  uneven;  but  in  the  work  of 
men  like  Jorge  Bermudez  and  Hector  Nava  there  is  a  mighty 
promise  if  not  any  great  achievement.  The  few  sculptures  are 
unusually  strong  and  interesting. 

The  Portuguese  Section,  in  galleries  109  to  111,  has  the 
appearance  of  belonging  to  an  older  period  in  the  history  of  art 
than  the  present.  One  feels  that  the  artists  who  show  pictures 
here  have  not  that  mastery  of  light  which  marks  the  Nineteenth 
Century's  greatest  advance  in  painting.  Certainly  there  is 
evidence  of  a  general  reliance  on  the  older  standards.  Perhaps 
the  best  works  are  those  of  Columbano,  in  the  central  gallery. 
Here  too,  and  in  the  next  room,  are  some  realistic  works  of 
Malhoa   that   compel  attention. 

The  International  Room,  gallery  108,  contains  all  that 
the  Exposition  has  of  German  work.  On  wall  C  are  such  splendid 
things  as  Leo  Putz'  "The  Shore*  and  Heinrich  von  Zugel's  "In 
the  Rhine  Meadows;'*  and  on  wall  A  is  Franz  Stuck's  "Summer 
Night" — by  no  means  one  of  this  decorator's  best  works,  though 
characteristically  rich  and  deep-toned.  But  one  feels  the  lack 
of  those  others  who  have  lately  lifted  Germany  back  among  the 
greatest  nations  artistically:  von  Uhde,  Liebermann,  von  Geb- 
hardt,  Klinger,  Erler,  and  von  Hofmann.  In  the  same  way  the 
young  and  virile  English  group  is  not  represented,  though  in 
this  room  is  a  passable  portrait  by  the  great  John  Lavery.  On 
wall  D  are  two  Spanish  works  of  Lopez-Mezquita,  that  are 
worthy  of  attention — but  nothing  of  Zuloaga  or  Sorolla, 

The  Holland  Section,  occupying  galleries  113-116,  con- 
tains a  display  that  is  well  balanced  but  without  outstanding 
features.  There  are  echoes  of  many  departed  glories,  of  Rem- 
brandt, of  Hals,  and  even  of  the  French  Barbizon  men,  and  a 
few  typical  beautifully  lighted  Dutch  interiors.  But  there  is 
none  of  the  work  of  the  men  whom  the  art  magazines  have 
taught  us  to  consider  the  representative  Dutch  painters  of  today: 
Israels,  the  Maris  brothers,  and  Mauve.  The  print  room  is 
likewise  good  rather  than  splendid,  unless  one  excepts  M.  A.  J. 
Bauer's  fine  Rembrandtian  etchings.  Charles  van  Wyck's 
small  bronzes  are  notable  among  the  sculptures. 

f95  1 


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THE  THINKER  by  RODIN 

In  the  Court  of  the  French  Building 


SCATTERED  ART  EXHIBITS 
STATE  AND  FOREIGN  BUILDINGS 

The  Palace  of  Fine  Arts  has  been  reserved  exclusively  for 
painting,  sculpture  and  prints,  with  the  result  that  the  material 
of  the  usual  **arts  and  crafts**  exhibitions  has  been  badly 
scattered.  Certain  exhibits  have  been  taken  to  the  state  and 
foreign  buildings,  some  of  which  are  also  of  interest  architec- 
turally; but  most  of  the  craftswork  is  to  be  found  in  the  four 
exhibition  palaces  on  the  Avenue  of  Palms. 

The  Palace  of  Varied  Industries  contains,  between 
5th  and  6th  Streets,  three  important  displays:  at  Avenue 
A  is  Denmark's  exhibition  of  porcelain  and  p)ottery,  with  a 
small  section  devoted  to  the  book  arts;  at  Avenue  B  is  an  ex- 
cellent display  of  German  porcelain;  and  at  Avenue  D  is  the 
Netherlands  exhibit  of  porcelain  and  pottery.  At  4th  Street 
and  Avenue  C  is  the  exhibition  of  Chinese  arts  and  crafts. 
The  American  section  of  so-called  **Domestic  Arts  and  Crafts'* 
is  at  1st  Street  and  Avenue  C,  and  contains  a  very  small  but 
select  showing  of  all  the  usual  handicrafts.  Elsewhere  in  the 
building  there  are  minor  displays  of  textiles,  ceramics,  tapes- 
tries, silver  work,  and  interior  decoration,  installed  by  com- 
mercial firms.  One  can  see  looms  working,  jewelry  being  made, 
and  China  being  painted. 

The  Palace  of  Manufactures  is  notable  for  the  extensive 
arts  and  crafts  exhibit  of  Japan,  which  covers  almost  one- 
quarter  of  the  building's  floor  space;  for  that  of  Italy,  which 
includes  a  large  number  of  statuettes  besides  the  usual  depart- 
ments; and  for  those  of  France,  and  Great  Britain  and  Ireland. 
One  will  find  all  of  these  displays  by  walking  along  Avenue  C. 

The  Palace  of  Liberal  Arts  contains  a  few  exhibits  of  the 
book  arts  and  architecture.  The  most  important  architectural 
display  is  that  in  the  United  States  Government  Section,  shown 
by  the  National  Fine  Arts  Commission.  On  Avenue  D  between 
1st  and  5  th  Streets  there  are  displays  of  fine  photography. 

The  Palace  of  Education  contains  the  exhibition  of  the 
American  art  schools,  at  Avenue  B  and  6th  Street.  At  Avenue 
E  and  3rd  Street  pottery  is  made. 

[97] 


SCATTERED  ART  EXHIBITS 

In  the  group  of  palaces  on  the  Marina  there  is  little  to 
interest  in  art  matters.  In  the  Mines  Palace  the  Government's 
exhibit  of  coins  and  medals  is  of  some  interest.  In  the  Trans- 
portation Palace  the  student  of  applied  art  can  find  much  to 
think  about  in  the  relation  of  art  to  automobile  design.  In  the 
Agriculture  and  Food  Products  Palaces  there  is  little  to  attract 
the  art-lover  except  at  meal-time. 

The  Italian  Buildings  contain  an  extensive  museum  of 
national  historic  art  and  archaeology,  which  is  well  worth  seeing. 
The  mural  painting  in  the  Royal  Salon  represents  **The  Glorifi- 
cation of  Italy."  The  buildings  reproduce  historic  Italian  styles 
of  architecture.  The  charming  central  court,  the  gardens,  and 
the  buildings  contain  many  replicas  of  masterpieces  of  sculpture. 

The  French  Building  was  unfinished  at  the  time  this  was 
written  (June  first),  but  it  is  to  contain  an  extensive  art  display. 
There  are  to  be  a  number  of  statues  by  Rodin,  the  greatest  of 
modern  sculptors,  which  alone  would  make  a  visit  imperative 
for  every  art  lover. 

The  Swedish  Building  is  one  of  the  most  interesting 
architecturally,  suggesting  the  fine  originality  of  recent  Scan- 
dinavian architecture.  It  is  worthy  of  note  too,  that  the  Nor- 
wegian and  Danish  buildings  strike  a  note  of  freshness  that  is  in 
fine  contrast  with  most  of  the  foreign  pavilions.  In  all  three  of 
these  buildings  there  are  small  exhibits  of  painting  and  handi- 
work. 

The  Turkish  Building  contains  an  attractive  exhibit  of 
rugs;  and  in  the  Philippine  Building  there  is  a  display  of 
metal  work  and  basketry. 

The  State  Buildings  are  in  general  designed  for  social 
purposes.  That  of  Pennsylvania  is  an  interesting  bit  of  Colonial 
architecture,  and  contains  two  virile  and  colorful  decorations 
by  John  Trumbull,  representing  **Penn's  Treaty  with  the  In- 
dians** and  **The  Industries  of  Pennsylvania.**  The  Maryland 
Building  is  also  a  simple,  dignified  bit  of  Colonial  design.  The 
Massachusetts  Building  reproduces  the  famous  **Bulflnch 
front**  of  the  Boston  State  House.  The  Mission  style  of  archi- 
tecture is  pleasingly  exemplified  in  the  California  Building. 

[98] 


INDEX  fv 


Pag4 

**  Abundance" 61 

Adams,  Herbert 70 

**Adventurous  Bowman" 60 

Aitken,  Robert 17.  30,  74 

**Aquatic  Life" 22 

Architecture  as  a  Whole 9 

Argentine  Fine  Arts  Section 94 

""Armored  Horseman" 49 

Arts  and  Crafts  Exhibits 97 

Bacon,  Henry .*.  .  37 

Bakewell  &  Brown. 67 

Bancroft.  H.  Milton 40 

Bateman,  John 44,  67 

Beach,  Chester 16 

"'Beauty  and  the  Beast" 47 

Bennett,  Edward  H 10 

Berge,  Edward 72,  73 

Bitter,  Karl 11,  91 

Borglum,  Solon 47 

Boutier,  E.  L 67 

Brangwyn,  Frank 19 

Bufano,  B 32 

"Bulls,  The".. 37 

Burroughs,  Edith  Woodman.  .  .  5\ 

Calder,  A.  Stirling 

11,30.31,32,44,47,53,  60 

Chase.  William  M 88 

Chinese  Fine  Arts  Section 94 

Color  Scheme 11 

Column  of  Progress 60 

Corbett,  Gail  Sherman 73 

"'Cortez" 49 

Court  of  Abundance 13 

Court  of  Flowers 45 

Court  of  Four  Seasons 35 

Court  of  Palms 43 

Court  of  Universe 23 

Crafts  Exhibits 97 

Cuban  Fine  Arts  Secticm 93 

Cummings,  Earl 61 

Dallin,  Cyrus  E 73 

Diagram  of  Art  Galleries 76 

Diagram  of  Grounds 8 

Dodge,  W.deL 52 

Dumond,  F.  V 34 

Duveneck,  Frank 88 

"•Elements.  The" 2U  30 

EJlerhusen,  Ulric  H 70 

"•End  of  the  Trail" 44 


Page 
Far^tthii;  Robert'.  1  .'>'. ! ,'?%.  ...   67 

FaviUe,  W.  B.  .  .  . 55 

"Feast  of  Sacrifice" 37 

Festival  Hall 67 

"Festivity" 31 

Fine  Arts  Galleries 77 

Flanagan,  John 49 

Florentine  Court 34 

Foreign  Buildings 98 

Fountain  of  Ceres 40 

Fountain  of  Earth 17 

Fountain  of  El  Dorado ........    51 

Fountain  of  Energy 53 

Fountain  of  Rising  Sun 25 

Fountain  of  Setting  Sun . 27 

Fountain  of  Youth 49 

Fountains  of  the  Seasons 39 

Eraser,  James  Earl 44 

French,  Daniel  Chester 63.  74 

French  Building 98 

French  Fine  Arts  Section 92 

Fry,  Sherry  E. .......  .  22,  67.  73 

"Genius  of  Creation" 65 

Gerlach,  Gustave 57 

Gruppe,  Carl 44,  47 

Half -dome  of  Philosophy 57 

Half-dome  of  Physical  Vigor.  .  .   61 

Harley,  Charles  R 61 

"Harvest".. 39 

Hassam,  Childe 45,  88 

Hastings,  Thomas 49 

Historical  Fine  Arts 79 

Holland  Fine  Arts  Section 95 

HoUoway,  Charles  W 44 

Illustration  Section 90 

International  Room 95 

I  talian  Building 98 

Italian  Fine  Arts  Section 93 

I  talian  Towers 43 

Jaegers,  Albert 37,  39 

Jaegers,  August 40 

Japanese  Fine  Arts  Section 91 

Keith,  William 88 

Kelham,  George  W 44,  47 

Konti,  Isidore 60 

Ladd,  Anna  Coleman 72,  75 

Laessle,  Albert 47 

Lentelli,  Leo 17,  30.  31.  71 

Lighting 12 


J99] 


INOB:^-^  Continued 


Longmaii;  EVfelyrf  B .  :!  .  .*. !  40,  74 

Manship,  Paul 31,  91 

Mathews,  Arthur  F. 45,  87 

Maybeck,  Bernard  R 70 

McKenzie,  Robert  T 72,  74 

McKim,  Mead  &  White 25 

McLaren,  John 12 

MacNeil,  Hermon  A 31,  60 

Medals 91 

Melchers,  Gari 88 

Mermaid  Fountain 66 

Miniature  Section 90 

"Mother  of  Tomorrow" 30 

"Motion". 31 

Mullgardt,  Louis  C 15 

Mullgardt  Tower 15 

Murals — In  Arches 32 

Murals — Court  of  Abundance .  .  19 

Murals- — Court  of  Four  Seasons .  40 

Murals — Court  of  Palms 44 

Murals — Fine  Arts  Rotunda ...  71 

Murals — Tower  of  Jewels 52 

"Music".... 31 

"Nations  of  the  East" 29 

"Nations  of  the  West" 29 

Newman,  Allen 59 

Niehaus,  Charles 49 

Outdoor  Gallery  of  Sculpture. .  .  72 

Palace  of  Agriculture 61 

Palace  of  Education 57,  97 

Palace  of  Fine  Arts 69 

Palace  of  Food  Products 69 

Palace  of  Horticulture 67 

Palace  of  Liberal  Arts 56,  97 

Palace  of  Machinery 62 

Palace  of  Manufactures ....  56,  97 

Palace  of  Mines 59 

Palace  of  Transportation 59 

Palace  of  Varied  Industries .  55,  97 

Patigian,  Haig 63,  73 

Pennell,  Joseph 89 

Philippine  Fine  Arts  Section ...  94 

Piccirilli,  Furio 40 

Pietro,  C.  S 75 

"Pioneer,  The" 47 

"Pizarro" .  .  . 49 

Portals  of  Varied  Industries. ...  56 

Portals  North  Facades 59 


',  Page 

'  Portuguese  Fine  Arts  Section..  .  95 

Print  Section 89 

Putnam,  Arthur 66 

Pyle,  Howard 90 

Redfield,  E.W 88 

Reid,  Robert 71 

Richardson,  W.  Symmes 60 

Rodin 98 

Roth,  F.  G.  R 30.  32 

Rumsey,  Charles  C 49 

Ryan,  W.  D'Arcy 12 

St.  Gaudens 72,  73 

Sargent,  John  Singer 87 

Scudder,  Janet .  .  .  .• 62,  75 

Sculpture  Section 72,  90 

"Signs  of  the  Zodiac" 31 

Simmons,  Edward 33 

South  Gardens 66 

Stackpole,  Ralph 56,  57,61,  71 

"Stars" 31 

State  Buildings 98 

Swedish  Building 98 

Swedish  Fine  Arts  Section 94 

Tarbell,  Edmund  C 88 

Tonetti,  F.  M.  L 49 

"Torch  Bearer" 67 

Tower  of  Jewels 48 

Tower  of  Jewels — Height 34 

"Triumph  of  the  Field" 61 

Troubetzkoy,  Paul 91 

Twachtman 89 

"Types  of  Power" 62 

Ulrich,  Louis 55 

U.  S.  Fine  Arts  Section 79 

Uruguay  Fine  Arts  Section 93 

Venetian  Court 34 

"Victorious  Spirit" 45 

Walter,  Edgar 47 

Ward,  Clarence  R 62 

Ward,  J.  Q.  A.. ^ 73 

"Water  Sprites" 17 

Weinert,  Albert 17,44,56,  57 

Whistler 89 

Whitney,  Gertrude  V 51 

"Winged  Victory" 55 

Young,  Mahonri 56 

Zimm,  Bruno  Louis 70 


[100  1 


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